ahmad goli

One of the main parameters in determining the effectiveness and quality of the emulsion is the degree of adhesion and coating of stone materials as well as its failure time. In this research, by changing various parameters, including: the amount of residual bitumen, the percentage of emulsion added to the materials, the amount of latex and its production in the laboratory plant (EmoLab), the amount of coating of stone materials, and the failure time in contact with stone materials for two types of basic bitumen 70/60 and 100/85 have been investigated. Also, the effect of different parameters of the bitumen emulsion, such as the type of bitumen, the percentage of residual bitumen, and the amount of emulsifier used in the production of emulsion, on qualitative tests such as sieve test, viscosity, stability, and settlement of the emulsion bitumen were investigated. In this research, an attempt has been made to investigate the effect of two different types of siliceous and lime materials and their effect on the properties of silt slurry mixture. The results showed that the use of more latex reduced the failure time by about 23%, but the bituminous coating of the materials increased by about 5%. Also, the use of emulsifier and more residual bitumen increased the failure time by 100% and improved the bituminous coating of stone materials by 76%. Also, inferring from the results of the tests, the use of silica materials in the adhesion test requires more time for hardening. Also, siliceous materials have less resistance than limestone materials. Also, the resistance of siliceous materials in the wear test in wet conditions is about 22% lower and in the wheel loading test about 25% lower than limestone materials. In the consistency test of slurry silt mixture, it was also determined that limestone materials have more slump and less fluidity around 30%.

Rebellion is the basis of epic and its driving force. The function of rebellion in epic is like a plot in a story that organizes the logical sequence of events. In other words, in the absence of rebellion, the epic can not take place. One of the types of rebellion in Iranian national epic texts is rebellion with the aim of shifting the governing structure and gaining power, which is based on various motives, such as the tyranny of kings, the greed of rebels, and so on. Some of the coups have a military aspect, are prepared and carried out by courtiers, elders, ministers and heroes, and some other coups are carried out by ordinary and general sections of society. In today's political literature, the first type is referred to as "coup" and the latter type is called "revolution". In The Shahnameh, which is the leader of Iranian national epic poems, the number of such rebellions is more in comparison with other poems, but in the poems studied in this article, some cases have been found that the present article seeks to describe and explain. They are, hense, in this descriptive-analytical study, rebelliouss in terms of types (individual, group and social), periods, motivation and motivation, rebellious / rebellious class affiliation, the final results of rebellion and subsequent social status in three verses Bahmanameh, Koosh-Nameh and Garshaspnameh have been discussed, studied and concluded.

Content for laughter and sarcasm, whether in the frame of comedy or in the context of ridiculous works, has a long history. The experiences of the practitioners in this field have had a great impact on the general thoughts and lifestyle of the people, and in recent centuries, theorists have examined the philosophy of its operation from various angles. The most significant theorization in this field is Bakhtin's dialogism, which is based on the language play he names as heteroglossia. after the concept has been discussed in the study of novel and other discourses of social and literary satires such as "Carnival,"  "parody," and so on. The interpretation and deconstruction of polyphonic conversational logic within the infrastructure of creative misreading and the humor in carnival discourse and parody can be conducted in terms of employing Russian Formalist notion of familiarization,  the disconnection and isolation of text from normal structure in French deconstruction and the psychological evolution of humor to creativity.The result of this descriptive study, an analysis based on library and internet sources, indicates that Persian parodies share intertextual features and borrow from polyphonic language of Carnival. These parodies are the same as literary comedies that has gone through a journey from the domain of humor to creativity with an intentional failure in the imitation of the content, language or style of serious works.

Khosrownameh or Gol -o Hermez is one of the famous poems attributed to Attar, which, unlike other fake poems attributed to him, due to its poetic order and coherence, some linguistic features, and the relative mastery of the poet, has been praised by some in a way that they consider the poem as Attar's, and put besides his four main and definite poems, "Manṭiq-uṭ-Ṭayr", "Asrarnameh", "Elahinameh" and "Mosibatnameh". On the contrary, some others have rejected this attribution by stating evidence. This article deals with the stylistic study of Khosrownameh in terms of structure, language and content. The research results show that the attribution of this poem to Attar is incorrect; beecause there are major differences between Khosrownamaeh, and  Attar's  main works, both in terms of form and structure, also in terms of language usages in both lexical and syntactic levels, and in terms of content and theme. On the other hand, the rejection of its attribution to Attar is strengthened by the manuscript issues and extratextual study of this poem and the discovery of some historical facts.

Attar-e Neishabouri is one of the poets whose works have been underestimated throughout the history, to the point that a large number of inappropriate poems have been attributed to him and being placed in the ranks of his four main works "Manṭiq-uṭ-Ṭayr", "Asrarnameh", "Elahinameh" and "Mosibatnameh". Among the works wrongly attributed to Attar, and the subject of discussion and research by many researchers of Persian literature, is Khosrownameh. The subject of this poem is the love story of two lovers named Khosro and Gol. The poem is written like some other romantic poems as Khosrow and Shirin of Nezami. This poem is written fluently, and in terms of style and poetic language, it has coherence, arrangement and the ability to induce the content to the reader, and by the way, this issue has caused some people to consider it as that of Attar without comprehensive investigation. In the present study, an attempt has been made to compare the Khosrownameh with Attar's main works both in terms of extratextual aspect (historical and manuscript issues) and from the stylistic aspect in the three fields of structure, language and content.

Theoretical framework :

In general, there are many differences of opinion regarding the attribution of Khosrownameh to Attar. Among the prominent scholars of Persian literature, Saeed Nafisi, without any doubts, recognizes Khosrownameh as Attar's, and believes this poem is one of the works of Attar's youth and middle life. Shafi'i Kadkani believes that the name of this poem is actually Gol and Hermez, that Hermez is another form of the Greek word "Hermes", and Khosrownameh is the original name of Attar's Elahinamah. According to others, such as Zarrinkoob, by composing a romantic poem such as Khosrownameh, despite the interpretability of some of its verses to mystical themes, at the end of Attar's life and after composing his four main poems, the poet's spiritual and mystical behavior cannot be justifiable. Other valid reasons have also been presented later by other researchers in rejecting the attribution of Khosrownameh to Attar,  including Ahmad Ezzatiporur in a research while criticizing the reasons of other researchers pointing to some extratextual evidence and clues, such as The names of some characters in it, and the belief that its author is a “Shia” have led to the conclusion that Khosrownameh is not from Attar. Among the other important researches that have been done regarding the attribution of Khosrownameh to Attar, is “the stylistic study of Khosrownameh to explain the correctness of its attribution to Attar e Neishaburi” by Teimur Malmir. In this research, it has been concluded that due to the frequency of commonalities between Khosrownameh and Attar's main works, its attribution to Attar is correct. In a research titled "Whose is Khosrownameh from?" from Akbar Nahvi, the conclusion is that this poem is undoubtedly not from Attar, and it was written in Isfahan near 600 AH, and its poet was Sheikh Attar Abu Abdullah Muhammad Mianaji (d. 619 AH). A number of other researchers have also presented their opinions regarding the correctness or incorrectness of the attribution of Khosrownameh to Attar e Neishabouri in various articles, but in none of these studies, the investigations have not been comprehensive, and have not led to correct conclusion.

In this research, an attempt has been made to investigate the attribution of Khosrownameh to Attar, both in terms of extratextual evidence, and in terms of intratextuality, i.e. stylistic issues using analytical-inferential methods.

In this research, the indisposition and correctness of the attribution of Khosrownameh to Attar has been investigated from two extratextual (historical and manuscript issues) and intratextual (stylistic) aspects. From extratextual analysis, it was concluded that the date of writing of the oldest manuscript of Khosrownameh is 696 AH, so it can be definitely said that this poem was written in the 7th century of hegira. Another important point that can be considered from a historical point of view in this poem is the praise of “Imam Hasan” and “Imam Hussain” (second and third “Imams” of Shia Muslims), and two Hanafi and Shafei imams by the poet, which shows that he was of the Shafei religion; and if he mentioned Imam Hanafi as well, it was because of observing the social and religious situation of Isfahan in the sixth century. Since in this era, most of the people of Isfahan were Shafi'i and Hanafi, and both clans were very strict in their beliefs and were constantly in conflict with each other. The comparison of Khosrownameh with Attar's four main works in terms of intratextual and stylistic issues indicates that, firstly, Khosrownameh was written with an almost coherent structure and with a slight difference from Attar's style in arranging the contents in his poems; With full knowledge of the ways of composing a long poem, the poet has divided and arranged the different contents of the work and has started his story. Secondly, due to the fact that Khosrownameh has the necessary eloquence and fluency to an acceptable extent, the lexical and syntactic level of the language in this poem is not much different from the lexical and syntactic level of Attar's poems, and only in a few cases we can carefully point out the differences. Thirdly, in terms of theme, this poem can be interpreted into mystical themes, so that from many of its verses, the influence of the poet from Thoughts of Ibn e Arabi, especially his most famous theory, "pantheism", is evident, while Attar puts "Oneness" in opposition to polytheism.

Conclusions & Suggestions:

Based on the examination and comparison of Khosrownamah with the main works of Attar from two very important extratextual and intratextual aspects, the conclusion was reached that firstly, according to the date of the oldest manuscript, this poem was written in the 7th century of hegira, and secondly, despite having eloquence and coherence, in terms of structure, syntax, vocabulary, content, and theme is different from Attar's main poems.

In this respect, romantic sonnets also have important connotations and show som realities in this period; Therefore, beloved place was investigated using some tools of Critical Discourse Analysis Approach in the sonnet over the last three decades . Thus, two theories were used for this purpose, Michael Hallidaychr('39')s theory to analyze the text the one and Norman Faircloughchr('39')s theory to explain its social dimensions the other. Among the text analysis tools,Ideational Metafunctional was chosen to focus on processes and naming purposes to reveal the attributes and names attributed to the lover, who is one of the main romantic discourse partner in the sonnet over the last three decades. What meaning these namings convey in term of being positive and negative؛ and Also, what processes or actions has been behind the lover؛ The result attempts to show that the poets of this period have used both general and specific names and other names for the beloved, including: special names and allusive and symbolic signs;adjectives substitute noun, Name of the city and geographical area where the beloved resides; metaphorical names emanating from natural elements; Organs to synecdoche; And metaphorical expressions used to describe the beloved physical and mental characteristics. The beloved of these sonnets plays the most important role in the form of relational processes of 43%, material 39% and mental 12%; In these processes, the beloved has appeared in the roles of actor 35%, carrier 20% and known 15%. The beloved participants is positively assessed in 71% of the processes.

The linguistic characteristics of the literature of nations in various diverse and literary forms reflect the special infrastructure, the main constituents of their culture and literature. Meanwhile, giant species and epic species flourish along with other types, the cycle and the centrality of their literary language, and maintains a special place for reflection of the author's thoughts and thoughts and behaviors. Since the phenomena of the authors of this type of text and the sensitivity of the attendance of their authors in the text can not be denied, the examination of the position of the author and the influence of the angle of the meeting in the text can reveal the vague points of the writings. "I am rich" or expressing the emotional and emotional character of the author in the rich and romantic texts, represents a representation of unconscious secrets from the author's intrinsic view to the various subjects around him. Since the phenomena of the authors of this type of text and the sensitivity of the attendance of their authors in the text can not be denied, the examination of the position of the author and the influence of the angle of the meeting in the text can reveal the vague points of the writings. The infrastructure of "my individual and my love", "my social", "my moral", and even the mystical and mythological forms, each of which expresses the exact pattern of the author's mind to the reader, and in an involuntary and unconscious way, the author's mentality to persuade the reader Guides. In the epic texts, the author and the presence of "my individual" and "his poetic self", though apparently not positioned, but in the underlying structures of the narrative and reporting of the pseudonymous and historic text of the text, the writer's burrow into his inner feelings and norms Willfulness can be seen in various forms. The supreme advocate of the "myths" of the heroes and heroes and their defenses and their frontiers in confronting the pole of malice and misdeeds, the sacrifice of national and patriotic honors, and even ethnicity against the aliens, ... Values ​​and Values National and nationalist thoughts portray a saga in connection with his emotions and emotions, although the narrative tale of the story has a background and background beyond the mind and the language of the author. Since Ferdowsi's "Shahnam", as well as "Divan Hafiz" of Shirazi, are considered to be perfect examples of two types of epic and richness, the investigator of the measure of the presence of the "hero of the Liric", or the "poetic myth", is represented by the representation "I have voluntarily" an epic manifestation in an adaptive manner in these two epic and Persian epics.

One of the layers that is applied on the base layer in asphalt pavements and increases the cohesion between the two layers, is the prime coat layer. Due to the fact that there are usually problems with the prime coat penetration into the base layer and penetration is not usually done well, there is a need to identify the factors affecting the penetration into the base layer. In this study, the penetration rate of prime coat coatings made of emulsified bitumen CSS-1h on the grain base level with different aggregate grading (aggregation close to the lower, middle and upper limits in two different types of aggregate grading) and different compaction levels were examined. Optimum water content, density, California Bearing Ratio (CBR) and the permeability of the samples were also examined. According to the results, the compressive strength of stone materials samples increases with approaching the upper limit (fine grain) and increasing the compaction. Also, increasing the grain size and decreasing compaction, increases the prime coat penetration rate, so that the 90% compacted sample with aggregate grading Type 3 has the highest penetration rate. The effect of moisture is obvious on the prime coat penetration, so that prime coat penetration rate is greatly reduced in saturation mode, but moisture in the base layer can help the prime coat to penetrate into the base layer.

Defamiliarization is a literary term of the Russian school of formalism. It was first proposed in 1919 by Viktor Shkolovsky. Formalists believe that de-familiarization is the essence of being literary. This is one of the most important differences between automatic language and poetic language. The artist and the poet have a duty to make comprehension more difficult by de-familiarizing and renewing the meanings of words, thus adding to the audient’s pleasure, literary taste, and surprise. It can be argued that all the strategies that are involved in highlighting a literary text, such as expressive, rhetorical, linguistic features, etc., contribute to artistic de-normalization and de-familiarization. Contemporary poetry, both modern and traditional, has been influenced by Hafez’s thoughts and language. In many cases, the contemporary poet engaged in de-familiarization by highlighting the specific words of Hafez's sonnets. In other ways, the poet uses Hafez’s vocabulary and literary strategies to provide the audience with strange and new poetic arrangements. If we consider the language of Hafez's poetry as a literary language that existed in the mind of the audience familiar with his lyric poems, the changes that have taken place in poetic norm-braking practices of contemporary poetry under the influence of Hafez’s poems can be considered as defamiliarization factors. To this end, the present study focuses on the recreation of Hafez's poetry in contemporary poetry through different types of defamiliarization (lexical, semantic, syntactic, and temporal).

This study aimed to investigate the different types of highlighting and defamiliarization of Hafez's lyric poems in contemporary poetry. With a closer look at the Divan of contemporary poets, different manifestations of highlighting in Hafez’s lyric poems can be identified. The application of these norm-braking practices varies in the traditional and modernist currents of contemporary poetry. For example, the traditional poet endorses and comments on Hafez’s lyric poems, while the modern poet highlights the specific peptic style of Hafez for critical purposes and sometimes to express ideas that are contrary to those expressed by Hafez.This study follows a historical and analytical documentary method and adopts an approach to exploring the de-familiarization of Hafez's lyric poems in contemporary poetry. A study of every contemporary poet reveals all kinds of highlights and defamiliarization of Hafez's lyric poems in their poems. Some studies have addressed de-familiarization and norm-breaking practices in contemporary poetry based on Hafez's lyric poems. For instance, Ishani (2019) conducted a study entitled “Norm-braking, a distinct aspect of Hafez's lyric from Emad Faqih's lyric poetry” and compared the norm-breaking practices used in Hafez and Emad Faqih's poetry. Firoozi (2019) examined types of de-familiarization in the poetic work of Mehdi Akhavan Sales. A review of the literature shows that there is no comprehensive study on instances of de-familiarization in contemporary poetry.

Lexical de-familiarization is one of the ways of highlighting linguistic terms whereby the poet uses norm-breaking practices to coin new words. De-familiarization involves the creation of a new word and enriches poetic words. In lexical defamiliarization, the contemporary traditional poet skillfully borrows special words from Hafez verses and creates new compound words and derivations using collocations and affixation, promoting the linguistic emphasis of their poetic expressions. Besides, lexical differences in modernist movements have helped poets to separate semantic and practical aspects of Hafez’s poetic words and create novel words and expressions through de-familiarization. The poet separates the words of Khajeh's divan from its semantic burden and everyday use and transforms them into a novel and new combination by making them strange. Norm-breaking practices in the imaginary forms of poetry de-familiarize the meaning of poetic words. The modern poet looks at Hafez's lyric poems from an unconventional point of view to come up with an unfamiliar meaning. The poet also breaks conventional concepts of imaginary forms, judges them from a different perspective, and creates poetic prominence by creating new meanings in poetry. The contemporary traditional poet uses poetic techniques such as metaphor and irony as the predominant aspects of Hafez's sonnets to highlight and de-familiarize instances of Hafez's lyric poems.In the poet's syntactic de-familiarization, the poet uses poetic elements and dismisses syntactic rules of normative language. As a result, poetry transcends the syntactic rules of normative language by shifting the constituent elements of the sentence, thus leading to de-familiarization.One of the poetic strategies used by the contemporary poet for de-familiarizing Hafez's sonnets is the employment of syntactic changes and the use of ancient words (lexical and syntactic archeology). Temporal deviation (archaism) is the use of words that were common in the past but are not common in the modern language. The use of old and archaic words in modern poetry gives prominence to the poetic language and, if used correctly, can lead to de-familiarization. Contemporary traditional poets have used mythical words, words related to the history and culture of the past, verbs or derivatives of verbs with ancient prefixes, etc. from Hafez's lyric poems to highlight and de-familiarize poetic norms. Syntactic archeology uses the syntactic structure of the past in sentence components or prepositions, and this promotes the archaic atmosphere of the poetry. Contemporary poets have used syntactic archeology, trying to deviate from the norm of Hafez's lyric poems and promoting the linguistic prominence of the poems.

A review of the literature shows that all kinds of de-familiarization of Hafez's lyric poems have been used in contemporary poetry. But these highlighting practices vary in traditional and modern poetry. For example, the traditional poet endorses and comments on Hafez’s lyric poems, while the modern poet highlights the specific peptic style of Hafez for critical purposes and sometimes to express ideas that are contrary to those expressed by Hafez. However, by borrowing from Hafez's poems and de-familiarization, the contemporary poet has not only enriched his poetry aesthetically, but by creating special poetic arrangements, he has added many lexical items to the contemporary poetry. In general, norm-breaking practices are widely used in contemporary poetry. All these emphases and de-familiarization have been used in the service of poetry and for expressive purposes. In this article, it was not possible to describe and address all of them. However, it should be noted that semantic de-normalization has the highest frequency in contemporary poetry and its norm-breaking practices can be significantly found in simile, metaphor, irony, and illustration.

In this article, the causes of 19-20th-century’s English audience's considerable attention to Hafiz poems are studied regarding the reader-oriented Reception Theory. This approach had special social, cultural, and literary causes defined in the Reception Theory as paradigms. By identifying the social-literary paradigms of England, the literary and social Horizons of Expectation in this period are explained. The Horizon of Expectation is the most important discussion in Reception Theory of Robert Jauss, which includes all literary and social factors which stimulate readers to refer to a literary work. The readers identify their expectations according to these horizons. If their expectations from the text are satisfied, they continue reading; otherwise, the text is considered as a "dead". In the case of Hafiz poems in 19th-20th century, we consider the combinations of horizons and readings. The results show that in these centuries, the social-literary paradigms in Britain were so developed that Hafiz poems could satisfy the social-literal expectations of England and even go beyond them.

Proverbs are mirrors of popular culture that are passed down from generation to generation and by examining them, we get the way of thinking and the common spirit of a country. The didactic themes of proverbs affect the whole of society, and this is one of the important factors of its survival for centuries. Hafez's lyric poems are full of parables. The brevity of his poetic language has caused him to be accepted by the knowledgeable people and to remain in the minds and language of this country for seven centuries. In contemporary poetry, imitation from Hafez's language and thought can be viewed. In this research, by studying the works of 18 contemporary poets, all kinds of influences and adaptations of the proverbs of Hafez's lyric poems have been discovered and extracted, and explicit and implicit borrowing from 110 proverbs of Hafez lyric poems can be seen. The results show that the instructive themes, poetic advice, encouragement, prohibition and warning found in proverbs of Hafez's Divan have been recreated in contemporary poetry. The contemporary poet, both in terms of form and content, sometimes in the form of poetic quotations and sometimes in order to criticize the period of time they have been living in, uses the teachings hidden in the content of the proverbs of Hafez's poems and tries to add or give a few changes in the words in order to recreate the parables of Hafez's poems.

Like literature, architecture has a bond with symbols, mysteries, metaphors, mystical concepts, socio-cultural mentalities and etc. and like literature is considered one of the most outstanding displays of the culture and thoughts of nations in different periods. In fact, words, elements and idioms in architecture are considered as one of the inspiring, artistic and array making tools for poets and writers. Extracting, studying and assessing buildings that are mentioned in poetry and writings of Persian literature, helps to know the architectural styles of different periods and to illustrate the ambiguous parts of Islamic and Persian history of architecture to a large extent. The period under study in this article is the Timurid period which it's most important characteristic in its architecture, is related to the decoration of its buildings and in this view this period is considered to be one of the most important periods of Islamic architecture. On one hand results of this research are an indicator of the usage of decorations like “Muqarnas, plastering, engraving, calligraphy and inscription, goldsmithing, woodcarving and shamseh” in architecture in Timurid period, and on the other hand are an illustrator of the manner and amount of usage of these decorations in the creation of literary arrays in poetry of this period. This article is prepared using the library and interpretation and analyzation method. Surely literature is one of the most important resources of discovery and extraction of kinds of decoration used in architecture in different periods. and architectural decorations are also considered one of the most beautifying tools in literary texts. So, study of important works of poetry and writing remaining from the Timurid period, especially Jami's poetry is very important in this view.

Literary influence is the discovery and study of intertextual relations in literary works and the analysis of the influence of earlier texts. Undoubtedly, in the field of poetry and literature, it is not possible to create a new poem without using the poems of previous poets; For centuries, the culture and literature of our country have been influenced by Hafez's lyric poems. Utilizing the specific interpretations and themes of her sonnets and the frequent use of poetic quotations in the structure of contemporary poetry, both in terms of form and content and guarantee, are some of the effects of this influence. In this article, the clearest evidences and the most widely used themes of Khajeh's lyric poems in contemporary poetry have been discovered and studied. The results show; The connection of contemporary poetry with Hafez's lyric poems can be seen in all types of poetry, from traditional, Nimai, Sepid and speech. The contemporary poet, while being influenced by the specific themes of Hafez's poems, strives with the goodness of novel analyzes and changes in expressive and novel industries such as ambiguity, brevity, simile and metaphor; Create new images. Borrowing from the range of words and weights of his sonnets, expressing his present, describing his beloved, or criticizing society. And in a few cases, with a verse or hemistich quotation, to convey the same or different message to the audience.

One of the most important topics in literary criticism is research into the correctness and inaccuracy of attributing a work to it's poet or writer. Throughout the history of the literature of various lands and nations, works have been attributed to famous poets and writers for various reasons, including political prejudices and religious Purposes, or similarities in form or theme that either really belonged to other poets and writers or have been works whose authors have been unknown; Attar ē Neyshaburi is one of the poets whose works have been mixed with those of poets of later periods, that have been written in a high degree of weakness in terms of form and structure and poetic language, and also differ from Attar’s definite poems in terms of their content. Undoubtedly various factors, whether intentional or unintentional, played a role in mixing the works of others with the works of Attar. The most famous work attributed mistakenly to Attar ē Neyshaburi is Pandnameh. This poem has about 900 bits, and the oldest Manuscript of it, is dated to 861 A.H.; namely ninth century; just two centuries after Attar's death. The difference between the date of the writing of the first version of Pandnameh since Attar's death, indicates that this poem most likely belongs to the eighth or ninth century and that it's author probably lived in the late eighth or early ninth centuries.

Methods & materials:

In the present study, the attribution of Pandnameh to Attar has been investigated and compared with Attar’s poems in the analytical-inferential way from the point of view of stylistic issues namely structure, language and content. It should be noted that in this review, the printed version of Pandnameh, corrected and annotated by Silvestre de sacy, has been cited.

Pandnameh differs dramatically from the point of view of three stylistic aspects, namely structure, language, and content, with the four definite mystical poems of Attar, Asrarnameh, Elahinameh, Manteqotteyr and Mosibatnameh. For example, besides the boring repetitions and the shortness of volume of the verses, there is no anecdote and allegorical story in the structure of Pandnameh. Whereas one of the most common methods of Attar to express the meaning and contents of his poems to the reader, is the insertion of allegorical stories and narratives. In other words, Attar as a narrator and interpreter tells stories and narrates to teach. The poetic language used in Pandnameh also differs from poetic language used in definite poems of Attar; some of the words and combinations used in the text of Pandnameh are either not used in Attar's poetry or have been used in different forms in his poetry. In terms of syntax and grammar there are also major differences between Pandnameh and Attar's poems; for example, verbs, adjectives, prepositions and other elements used in the verses, and the way of putting the linguistic elements together in verses is contrary with the syntax of Attar’s poems. The content of Pandnameh also differs from the content of Attar's poems; for example, the author of Pandnameh expresses beliefs about love, Health and Silence (in the mystical sense), kings and other topics that are opposed to what Attar thought in his poems.

In this article, by Scientific study and stylistic comparison of Pandnameh with Attar's poems from three aspects of structure, language and content, it is concluded that this poem is not from Attar, because first of all, the form and structure of Pandnameh is significantly different from which is clearly seen in the four definite works of Attar; because While Attar has attempted to convey the content of his mind and thought to the readers in all four of his poems by using narrative expression and allegory, Pandnameh is devoid of this structure and form of expression. A greater percentage of the poetic language used in Pandnameh is different both in terms of words and idioms and in terms of syntax from Attar's poetic language in his poems; a greater percentage of the content of these two groups of works are dramatically different from each other. The dominant thought in Attar's poems is pure mysticism and Sufism; but, not only is the prevailing thought in Pandnameh sometimes just for expressing religious themes far from the pure mysticism, it is more like other books written on the subject of advice that just teaches and expresses general ethics.

The geometric construction of Hafez's lyric is one of the most prominent features of Hafez's poetry, which has been frequently used in Hafezological researches.Although about vertical solidarityof Hafez's poetry, differentviews of and aspects have been plotted, butstill more consensus on the horizontal structure and geometric order of his verses can be mention.Still, no formulated in the formulation of the structure of Hafez's structural patterns, have not been explained. This article tries to rely on the linguistic teachings of text and poetry investigate the iconic materials for the form of a referential system, the cognitive, and the relationship between the Hafez's verses, to show how two compartments, with a variety of close relationships and symmetric finds and concealswill be construct in a graphical level.This paper concludes that the how Hafez fully demonstrated the constructing of narrative on poetry or the unity of the subject to the all readers by using vertical structure of the lyric in the context his poems; but in other hand, by removing the vertical structure, the structure finding a landscape with a variety of close and close relationships, the game, and hidden signs and the creation of graphic constructs with reciprocating associations and dialects bring the reader closer to his poems. In this condition, the vertical structure is proportional to the horizontal dialectical structure.

Motor vehicle traffic congestion and environmental problems caused by it are one of the biggest concerns of today’s urban societies that attention of transportation planners and managers has led to develope and promote non-motorized transportation. Expansion facilitate and improve the culture of cycling is an achievable solution which can convert bicycle as a healthy mode to alternative to personal vehicles for short trips within the city. However, it seems about the effectiveness of expansion a new cycling corridor is still uncertain and spending on cycling infrastructure compared to investment in roads is not a priority. Benefit-cost analysis can be a decision-making tool in this context. In this study, to create a cycling corridor with a length of 2.2 km in Esfahan economic evaluation was performed with benefit-cost analysis and the benefits of creating this special path for 5-year plan period, were obtained more than the total cost of construction and maintenance.

Content paradox is surprising in whatever way it is expressed. Such paradoxes are not uttered for the aesthetic beauty but in order to tell the realities of the time. Though they sound illogical and odd, yet in the domain of classical tradition they are accompanied with beautiful explanations. Content paradoxes are of two kinds, interpretive and complex. Darker that lamps, excitement brings calm, stationary and moving, full of emptiness, and destruction leading to construction belong to the interpretive kind. Familiar stranger, good omen owl, sad happiness, the weakened strong and lucid dumb and verbal silenced are examples for the complex type. In this study different types of paradoxes are discussed in order to help the reader in his understanding of the text.

To understand the rhetoric of Persian language and to recognize its capacities in expressing meaning, its syntactic structures should be initially studied and analyzed. It is only possible in this way to know how a particular concept and in what structure it should be expressed. "Restriction and bound" is one of the concepts has various syntactic structures in the Persian language. This variety of syntactic structures expresses the high capacity of syntax in Persian language to induce rhetoric intentions and creating a perfect conforming between the form and the language format with the desired meaning and purpose. In this regard, it has been tried in this paper, relying on Saadi's words, to identify all the facilities and capacities of Persian language in expressing the restriction and to propose a distinct classification for them. The results show that all of the facilities express the restriction in Persian language can be divided into two general categories: 1) The metalinguistic process, which has no specific lingual sign to be appeared in the objective chain of language; "stress" is the only capacity of this process. 2) The objective factors and signs of language; syntactic structures such as "attributives", "exceptions", "displacement of components" and "use of special constraints" are subsets of this category

The use of polymer in hot mix asphalt production has remarkably in recent decades. Destruction due to moisture in hot mix asphalt is of basic matters about flexible pavement durability. In recent decades different ways have been used to evaluate moisture Sensitivity of HMA which some of them are simple with low cost and some are complicated with more reliable results. In this research the effect of polymer Lucobit on striping was investigated and boiling test and image processing technic and modified Lottman test that is the most popular test for moisture sensitivity were executed. Marshall Test, indirect tensile strength and dynamic shear rheometer (DSR), were done as additional tests. The results show that use of this polymer has a remarkable positive effect on moisture sensitivity and has improved other parameters of bitumen and hot mix asphalt. The results showed that 2%, 4% and 6% Lucobit, by which the PG 58-** will be upgraded to PG 64-**, PG 70-** and PG 76-**, respectively. In addition, the addition of 6% Lucobit has led to improvement of high temperature performance by 14.7 ºC and enhancement of three grades from PG 58-** to PG76-**. Also, the addition of 6% Lucobit has led to enhancement complex modulus by an average of 53.7 %.

Resilient modulus and California Bearing Ratio (CBR) in unbound granular materials are the key technical characteristics of layers in a flexible pavement design. Among the factors affecting these two parameters, the aggregate gradation is the most important. Using particle size distribution curve developed by AASHTO, together with other considerations mentioned in the related regulations have yielded desirable results in many cases. However, many roads loaded by heavy vehicles, for which all technical instructions of standard regulations were observed, have undergone deformations caused by subsidence of layers. According to the related technical documents, one hypothesis could be the proximity of aggregate gradation to the boundary areas. Therefore, the aim of this study was to determine the effect of changes in the scope of aggregation in the border areas on strength parameters. For this purpose, effects of aggregate grading variation on two types of aggregates, i.e. limestone and quartzite (as determined by AASHTO) were investigated using specific gravity, CBR, and resilient modulus tests. The results showed that, in the gradation boundaries determined by AASHTO, the difference between specific gravity values was insignificant. In the CBR and resilient modulus tests, however, there was a significant difference between test results in the upper and lower limits of gradation. In addition, gradation variation had a lower impact on resistance parameters in quartzite aggregate compared to limestone aggregate. Therefore, under special utilization conditions, materials with highest values of technical specifications should be used, since even materials whose technical specifications are in the standard range may not behave as expected in real world situations.

The study of word selection in speech of Saadi shows that central words in sentence or verse usually have influence over each other. Proportion, in general meaning, as a traction between words, is his main criterion in selecting a word from available possibilities. Even his stimulant in making use of ‘metaphor’, ‘simile’ and ‘compounds that have allusive meaning’, is regarding this proportion and harmony between words in the associative axis. In addition to subject of proportion, another important subject in selection of word in Saadi’s speech is his skill to avoid repetition a word at one meaning by using of lingual capacities. In this paper, first, the subject of synonym and some other capacities such as ‘metaphor’, ‘trope’, ‘changing the grammatical form of a word’ and ‘Arabic equivalent of words’ which Saadi has used them to avoid repetition of word, will be considered. In the following, we study the proportion and harmony in his words.

In this paper, effect of a stabilizing material known as "SSR400 solution", which is obtained from briny waters of Iran's central desert and is rich in calcium chloride and magnesium chloride, on improving the strength and swelling of fine-grained soil (containing silt and clay) in asphalt pavements is investigated. For this purpose, soil samples were taken from various secondary roads in Sistan region, Iran, and by selecting different amounts of SSR400 solution (12.5 to 22.5 percent), some test samples were prepared using standard methods, and they were tested for density, moisture content, California bearing ratio (CBR), unconfined compressive strength (UC), and Atterberg limits (liquid limit and plastic limit). Results showed that using SSR400 solution as a stabilizing material increases bearing capacity of silty and clayey soils, but is not effective in controlling the soil swelling. Moreover, the optimal amount of this solution for mixing with silty and clayey soils was 16.5 and 14.5 percent, respectively.

In the passage of history, man has objectified his images like immortality by external symbols. Man nourishes the concept of immortality in order to escape death and mortality; this is done by elements of nature. One of these elements of nature is fire which is used to show the mysteries and symbols of immortality. In the passage of time, the concept of fire is seen through generations, and has been preserved in certain terms. In Persian language, the terms like ‘ojaq-koor’ (she is sterile) ‘ojaqe khaneh’ (fire-place) and ‘ojaqe khanehat khamoosh mabad’ (I wish you have son) contain the term ‘ojaq’ or fire-place that denote to son and having no child to carry a man’s name. In the present article, first, we consider one of the most important symbols of fire that is according to the people of antiquity contains the notion of immortality. Then, the linguistic signs that show the relationship between the notion of immortality and fire-and-son are entertained.

Due to sustainable development, environmental concerns caused by air pollution, expansion of development projects, and limitations of mineral aggregates, reduction of construction temperature of asphalt mixtures and use of secondary materials as substitute for aggregate materials is inevitable. In this research, long-term performance of warm asphalt mixtures containing steel slag was investigated. Limestone aggregates and steel slag of Electric Arc Furnace (EAF) were the main materials and Sasobit was used as an additive in manufacturing warm asphalt mixtures. Using 1.5% Sasobit, with respect to bitumen’s weight, decreased temperature of the asphalt mixtures by 20 °C. In order to simulate short-term and long-term aging of asphalt samples, AASHTO R35 and AASHTO R30 standards were used. Sasobit was mixed with asphalt by conventional mixer and high-shear mixer. Traditional and SHRP tests conducted on mixtures indicated that Sasobit is insensitive to mixing conditions. Performance of asphalt samples was evaluated by Marshall stability test, resilient modulus test, indirect tensile strength test, moisture susceptibility test and dynamic creep test. Finally, quantitative growth of the results for each sample, with respect to hot calcareous asphalt mixture, was presented. In general, using slag as calcareous substitute caused higher aging of asphalt mixtures. Also, hot asphalt samples, as compared to warm asphalt mixtures, were more sensitive to aging. As warm asphalt mixtures containing EAF steel slag, with respect to other asphalt mixtures, have shown long-term and short-term performance, therefore, they are recommendable.

The routes exposed to snow and rain, with a chance of freezing, need de-icing due to the possibility of exploitation of the route and protection against structural damage. Lack of maintenance and de-icing leads to swelling of the surface, contractile cracks, expansion of existing cracks, separation of the pavement layers and in some cases separation of the grains. Calcium chloride, magnesium chloride, sodium chloride and urea can be used as de-icing and liquid anti-icing materials. In using the above materials, in addition to the ecological and economical aspects, damages caused to asphalt surface due to the close contact with these materials should be evaluated. The aim of this study was laboratory investigation of the effect of using the above materials on asphaltic-mixture resistance. For this purpose, the prepared samples were cured according to AASHTO T283 and tested for Marshal stability, tensile strength and resilient modulus. Results indicated that deicing with calcium chloride solution in Marshal stability test, calcium chloride and urea solution in tensile strength test, and urea in resilient modulus test has the lowest negative effect. Also, since the mixture is in close contact with pure water and freeze-thaw cycle, it has the highest negative effct on the laboratory samples and this approves and emphasizes the need for proper maintenance and use of anti-icing and de-icing materials. Therefore, considering the negative ecological effects, effective temperature, price of the materials and results of this research, in areas where the temperature is 0 to -10, or -10 to -20 or lower than -20 °C, then urea, magnesium chloride and calcium chloride can be used as de-icing material, respectively, to have the lowest damages to asphalt pavement.

The performance of asphalt binders at high and low temperatures has an important role on the rutting and cracking resistance of asphalt pavements. Crumb Rubber Modified (CRM) is one of the asphalt modifiers that improves asphalt physical and mechanical properties and helps reducing environmental pollution. In this research, three unmodified and six CRM modified binders were tested using the Superpave test and Performance Grading (PG) system. The Multiple Stress Creep and Recovery (MSCR) test was used to assess rutting resistance of rubberized binders. The study compared the results of this classification with the 7 performance grade binders required for specific climatic zones in Isfahan Province. The results show that, CRM improves asphalt’s physical and mechanical properties at service temperatures and decrease in the non-recoverable compliances (Jnr) in MSCR test. Moreover, CRM binder is sufficient for the required PGs, while based on MSCR test, it cannot fully cover the traffic level requirements in Isfahan Province.