hossein ettehadi

After the ninth century, alterations occurred in the use of words and combinations as well as the syntax of Persian poetry, which led to the creation of a new style that later became known as the Indian style. Based on the findings of this research, the linguistic components of this style are prominent in Ghazali Mashhadi’s poetry. Some later sources have considered Ghazali an eloquent poet with fluent and expressive poems. This descriptive-analytical study has examined some of the most widely used linguistic features in this poet's divan. It should be said that in Ghazali's divan, there are some approaches in the use of linguistic elements that do not comply with the criteria of eloquence mentioned in rhetorical books. These include the Complication of word elements, slip of the Grammatical, and the misuse of some letters. On the other hand, it should be said that the poet had innovations in the use of verbs and adjective-noun combinations that have expanded the range of themes and concepts of his poetry.

The lateral talar dome osteochondral fracture has been described as shallow or wafer-shaped and is more likely to have an associated flake fracture than medial injuries. Displacement into the extracurricular space, however, is a rare occurrence. We present a case of ankle trauma with persistent pain and edema. A CT scan revealed a displaced osteochondral fracture of the lateral dome of the talus and an avulsion fracture of the tip of the medial malleolus. After appropriate dissection and exposure, the fragment was found below the skin, outside the ankle joint capsule. The fragment was fixed to the neck of the talus, and the deltoid ligament and anterior inferior tibiofibular ligament were repaired. After a one-year follow-up, full recovery was achieved without pain, stiffness, or osteonecrosis of the displaced fragment. Although the extra-articular displacement of lateral talar dome osteochondral fractures is rare, it should be considered when assessing ankle trauma.Level of evidence: IV

There are a group of poets, who have indulged in the use of strange and far-fetched similes and metaphors in the Indian style to such an extent that the meanings of their words have sometimes become close to a riddle. Hence, they are known as imaginary poets. Asir Shahrestāni is one of the followers of this style. He has been considered the founder of this style in some biographies of poets. It must be said that he has employed similes more than any other imageries to convey his desired meanings. Using a descriptive-analytical method, the current research was to investigate the effects of various similes on the ambiguity of the meanings and themes of Asir's ghazalz. Based on the findings of this study, Asir Shahrestāni uses some approaches in using similes that have a great impact on the ambiguity and complexity of his speech. Among these approaches, we could mention his skillful use of abstract elements, use of topics and images with numerous additions, and integration of the two sides of comparison with symmetries. In addition, the density of similes in the horizontal axis of his poems was effective in the perpetuality of the themes in his poetry. On the other hand, it could be said that the creation of novel similes had in many cases made the themes and subjects of his poetry outstanding and strange. Moreover, some linguistic and expressive slips could sometimes be observed in his similes.

Ghazali Mashhadi is one of the poets who migrated to India in the 10th century for some reason. He has some works in verse and prose, one of which is his Divan of poems known as Asar al-Shabab. This Divan includes an introduction in prose and some poems in the form of Ghasideh (ode), Tarkib-band (poem of several stanzas of equal size), Tarji’-band (strophe poem), Ghazal (sonnet or lyric poem), Mathnavi (couplet poem), Qet’eh (an elegy consisting of only two lines and rhyming in the last hemistiches), and quatrain, which were published with Hossein Qorbanpour Arani’s corrections by Elmi va Farhangi (Scientific and Cultural) Publications in 2009. In this edition, despite the mentioned correcting efforts in the introduction, many errors have found their way into different parts of this Divan. Most of the errors were related to punctuation. These slips could cause the wrong reading of the poems and might even cause misunderstanding of the poet’s intention. Another problem that could make the reader’s job difficult was that the references given to Ghazali's poetry or even to other scholars’ works were incorrect both in the introduction and notes of the Divan in many cases. In addition, the mistakes and carelessness in the steps of typing the poems had sometimes caused (an) extra letter or letters or a sign to enter the words or be omitted from them in the texts. Also, in the section of notes, the honorable editor had only explained the literal meanings of the words or terms, which had nothing to do with the meanings intended by the poet in many cases.

In recent years, actuator methods in aerodynamic simulations have been favored by researchers. These methods can significantly reduce the computational effort compared to full-scale body resolving simulations. They are also more accurate than conventional methods that use simplified models. In this study, an actuator surface model is used to simulate flow around an airfoil in a steady two-dimensional incompressible flow. In these models, the geometry of the airfoil is represented by volume forces distributed along the airfoil chord. For this purpose, the collocated method of mass corrected interpolation method is coupled with the Actuator Surface Model. To determine the accuracy of the results, the actuator surface method is compared with the full- computational fluid dynamics simulation method. Besides, a new study is presented to investigate the effect of changing different parameters of the actuator surface model on the accuracy of results. Finally, pressure and vorticity contours are plotted, and obtained results are compared with full- computational fluid dynamics results. The obtained results show that although the actuator surface has a moderate accuracy in calculating parameters such as velocity and pressure, it can predict aerodynamic forces and flow structures with acceptable accuracy. The method presented in this article can be used as an efficient tool in studying more complex cases.

One of the main themes in the history of Persian literature is praise which has been used by poets in different ways. Rhetoric scholars have considered praise as a technique with unique characteristics. This research investigated the technique applied in the rhetorical works of the Persian language by using a descriptive-analytical method. There were a total of 13 arrays of rhetorical techniques assigned for praise themes, all of which were regarded as rhetorical semantic techniques. Among them, 3 techniques of Ebdā’ (innovation), Ta’kid alMadh bemā Yashbah al-Dham (emphasis on praising, which is like blaming), and Estedrāk (paradoxical praise) had greater rhetorical values because of the equivocalness they created in the reader's mind. Still, the technique of Ta’kid alMadh bemā Yashbah al-Dham had been further the focus of rhetoricians and mentioned in all the rhetoric books. Among the rhetorical works, the book of Badāye’ al-Afkār fi Sanāye’ al-Ash’ār mentioned more praise techniques than others (i.e. 9 techniques). What was clear in this regard was the rhetoricians’ diverse and sometimes disparate opinions in terms of naming, defining, and mentioning examples of the techniques.  IntroductionOne of the main themes in the history of Persian literature is praise which has been used by poets in different ways. As it appears from the history book of Sistan, the first Persian poem has also had a praise theme. Even one of the researchers believes that the history of praise poetry goes back not only to the time of establishing the courts’ power but also to prehistoric times. According to (Shamisa, 2004, p. 256) “praise poetry is somehow rooted in the prayers, praises, and hymns that have been written about the gods and their manifestations in ancient times". The subject of praise is one of the first critical themes in the field of literature and has been the focus of writers and critics. Qudāma ibn Ja’far considered praise as the first goal of poetry in his famous book entitled Naqd al-She'r (critic of poetry) written in the 4th century and has assigned particular characteristics and conditions for praise poetry. “Madiha (eulogy) has several parts as desired by the praisers and it is necessary to focus on the special meaning of each of these parts of praise” (Qudāma ibn Ja'far, n.d, p. 174). In this research,  various ways of praising were examined in the authentic rhetorical works, from Tarjomān al-Balāgheh (rhetoric translation) to present a new look at rhetoric. The main goal of the present study was to find out what techniques the court poets had innovated in order to express praise themes and how successful they had been in creating literary beauties. The basis of this research was referring to Persian rhetorical works though in some cases, the Arabic rhetorical scholars’ opinions were cited as well. In most of the Persian praise poems, the praised one was one of the persons related to the court, especially the king. For this reason, there were several praise techniques that were dedicated to praising this group.  Methodology This research uses a library approach and a descriptive-analytical method. It could be considered the first attempt made in the field of categorizing, criticizing, and analyzing the ways of praising in Persian rhetoric.  Discussion and ResultsDue to the importance of the subject of praise in the history of Persian poetry, poets have used various methods to praise the praised ones. Rhetoric scholars have considered each of these methods as a separate technique and mentioned some evidence for each of them. It should be said that in this study, only the techniques related to praise themes were taken into account as there were some techniques, which were dedicated to praise and the poets could also express other themes through them. For example, San’at Moghāyira (technique of paradox), which was mentioned in Dorreh Najafi, was believed to be applied for both praising and blaming; or the technique of ‘Edmāj’ that was mentioned in the book of Abda’ al-Badāye was defined as “a technique by which the speaker addresses another issue during conveying his meaning of praise or blame or any other meanings, whether it is related to the first issue or it is of a different kind” (Gorkani, as cited in Ghasemi, 2010, p. 38). Such techniques were not regarded in this research. On the other hand, the characteristics and styles of some techniques, such as Towsim (marked praise) or Hosn-e Takhallos (well-delivered praising) are only used in poetry (although praise has been used in both poetry and prose). Therefore, since rhetoricians’ dominant focus in providing the related evidence has been on poetry, the approach taken in this study was based on poetry. The analysis of rhetorical works showed the following 13 arrays or techniques to present praise themes, : 1) Ta’kid al-Madh bemā Yashbah al-Dham (emphasis on a type of praise, which is like blaming); 2) Madh-e Movajjah (excusable praise); 3) Ebdā’ (innovation); 4) Towsim (marked praise); 5) Ettefāq (coincidence); 6) Etterād (successive ancestral praising); 7) Estedrāk (paradoxical praise); 8) Madh-e Mothannā (doubled praise); 9) Tarjih (preference); 10) Hosn-e Takhallos (well-delivered praise); 11) Tasallof (adulatory praise); 12) Jam’e Mo’talef va Mokhtalef (collective and distinctive praise); and 13) Do’ay-e Ta’bid (eternal blessing). Of course, some of these arrays were more focused on by rhetoricians.  ConclusionOut of the rhetorical techniques, 13 techniques were found to have been used by the speakers presenting praise themes. All these techniques were considered to be rhetorical semantic techniques. Among them, the 3 techniques of Ebdā’, Ta’kid al-Madh bemā Yashbah al-Dham, and Estedrāk had more rhetorical values since they created equivocalness in the reader's mind. Accordingly, it could be claimed that the speakers had added to the treasure of rhetorical techniques in the Persian language by presenting praise themes while creating literary beauties. These 13 techniques were different from those like Edmāj or Moghāyereh (contradiction), which were associated with other themes besides praise. Two techniques of Ta’kid al-Madh bemā Yashbah al-Dham and Madh-e Movajjah were found to be used by rhetoricians; the former was mentioned in all the rhetorical books and the latter was used except in Al-Mo’jam. On the other hand, the 3 techniques of Madh-e Mothannā, Tarjih, and Tasallof were mentioned only in one book. Among the rhetoric scholars, Wā’ez Kāshefi, the author of the book Badaye’ al-Afkār fi Sanāye’ al-Ash’ār paid more attention to these techniques by mentioning 9 of them. The least attention was paid by Shams Qais Rāzi, who mentioned only the 2 techniques of Towsim and Ta’kid al-Madh bemā Yashbah al-Dham. In the meantime, what seemed to be more prominent was the rhetoricians’ disparity of opinions for naming and defining these techniques. For example, they mention even 5 terms for the technique of Madh-e Movajjah.

One of the research approaches that examines and analyzes the signs and understands their hidden meanings is the semiotic approach. From this perspective, in order to analyze social phenomena that do not find meaning in themselves, one must pay attention to the cultural structure and network of meanings in which they are located. One of the theorists who proposed a coherent plan for social semiotics was Pierre Girouard. He considers social signs in the two main areas of identity and social etiquette to be examined and analyzed. This research, which is written in a descriptive-analytical method and refers to library sources, tries to rely on Giro’s consistent theory and with the approach of social semiotics, analyzes the type and manner of appearance of social signs the novel Gypsy by the Fire, which is a social novel written by Moniro Ravanipour. The results of this article show that Ravanipour, in the novel Gypsy by the Fire, uses many symptoms, concerns about social issues, and especially concerns about the problems and sufferings of women who are trapped in superstitious beliefs. The author’s significant use of symbols such as occupational group uniforms, tribal rituals, superstitious and reactionary beliefs, and justice-seeking movements, which are the most important signs to express “The author’s objections to social issues have been used, along with various methods of ethnography and non-verbal communication (such as tone, clothing, etc.) to reflect the bitter realities of society and to express specific goals in the form of life descriptions.” The mirror is noteworthy. Under the component of “uniform” and in the semantic component of “occupational groups”, the author has been able to point out the occupational inequality of women and men among the gypsy tribes. Or in the discussion of the semiotic component of “tribal customs” in the gypsy tribes, education has no place and according to the law of caravans, houses and homes are forbidden for the nomads, there is no meaningful settlement and the gypsy girls in Marriage has no choice

Tarsal tunnel syndrome (TTS) is a relatively uncommon nerve entrapment neuropathy. Many pathologies are reported aspossible causes for TTS. The diagnosis of TTS can be difficult and often missed. We present a rare case of TTS due toan accessory flexor digitorum longus muscle. Together with a high index of suspicion, MRI is the investigation of choice inmaking the diagnosis. These patients are best managed with excision or transposition of the flexor digitorum accessoriuslongus (FDAL) and neurolysis of the posterior tibial nerve and its branches.Level of evidence: IV

The first step in turbine blade design is to select TSR. Therefore, an optimization procedure should be applied to find the best ratio since this directly affects the energy generated from the turbine. In this research the optimum TSR are calculated with regard to the dynamic stall phenomenon. The dynamic stall imposes large amplitude loading on airfoil sections and since it occurs in HAWT operating envelope in unsteady flow. The purpose of this study was to investigate the effect of unsteady flow with periodic oscillation on the performance of HAWT turbines. A DS model is implanted to analyze the static data. Then the Beddoes-Leishman DS model was tailored to the HAWT environment. Then, using this model and BEMT, the optimal TSR is calculated And the impact of the presence of dynamic stall is shown. Also, Cp and CT are plotted in several different TSR with different time steps to express the effects of Unsteady phenomenon. In addition to dynamic results, static and steady results are plotted in power and thrust graphs. This phenomenon affect the efficiency by -3% as compared to the static stall. Also the Optimum TSR increases in dynamic mode. Examination of the time average diagrams of the drag coefficient shows that the delay in separation starts approximately from the midpoints of the blade and reaches the maximum value at the root.

One of the arguments in rhetoric is to examine the use of interrogative sentences in secondary purposes. The main purpose of the interrogation is to obtain information; but up to 32 secondary purposes have been written for Interrogations in some rhetoric books. In this descriptive-analytical study, the secondary purposes of the interrogative sentences in Saadi's Bustan have been analyzed. The purpose of this research is to determine what concepts Saadi has intended to present through rhetorical questions. The fundamental question in this research is to identify, to what extent did Saadi use the interrogative sentence in presenting his themes and concepts? The research is based on the assumption that due to Saadi's mastery in rhetoric criteria of language, he has taken great advantage of the secondary capacities of the interrogative sentences, especially in conveying themes of reproach and denial. In Saadi's Bustan, in total, 379 cases of rhetorical interrogations have been used. Out of which, in 289 cases, the poet used one type of interrogative tools to ask questions, which included a variety of 19 questions. Of these 19 cases, only the Arabic word "kaifa" serves as a question mark. The word "Che" has been used 129 times, accounting for about 47% of all query words in Bustan. In many cases of rhetorical questions, he begins the interrogations by the word "no". The poet's intention in this way of expression is to draw the reader's attention and emphasis on the theme. In total, 379 cases of rhetorical interrogation have been utilized in the Saadi's Bustan. These questions have raised 32 different themes. What is important in terms of the style and understanding of the poet's thinking is that in 241 of these questions, directly or indirectly, ethical themes are presented.

Rhetoric is the knowledge dealing with different ways of expressing meaning. Simile is one of the techniques of it. Various definitions of simile have been offered that all of them are based on the notion that simile indicates the affinity between two things or persons. Particularly, it is said “simile in rhetoric means showing the similarity of one thing with another thing in sense” (Erfan, 1395: p. 46). Simile is regarded as the most significant element in reflecting experiences, beliefs, and thoughts of a rhetorician. Hence, it is considered as the commonest literary figure because it is “the core of most of poetic imaginings. The different types of simile found their origin in similarity that imagination discovers and expresses in various forms” (Pornamdaran, 1390: p. 214).
Simile assists a poet to make the abstract concrete through looking at tangible phenomena from fresh angles. A major part of discussion concerning simile turns round the point of similarity, a common feature that establishes the similarity between two things. The best type of simile shows the most amount of affinity between the two sides.
There is scanty biographical information about Sanjar Kashani. In Tazkareh Riyaz Ashoara, Aligholikhan says “ he was an artist of his time, came to India, and prospered (p. 666). Amin Ahmadrazi believes that “in his speech and poetry he surpassed his father” (p. 1032). Sanjar died when he was returning to Iran after being summoned by Shah Abbas. To approach Sanjar’s poetic style, this study investigates all the similes employed in his collection of poems. This study is done in a descriptive-analytic method. Sanjar was so interested in using simile with other literary figures. It causes the reader to discover the claimed similarities and to enjoy fully the artistic pleasure in his poems. In addition to simile, Sanjar uses irony, metaphor, syllepsis. It is required to note that every new simile can be used in one of the two ways in a literary work. First, reintroduction of stereotypical similes. Second, creation of new similes by the poet himself. There is no doubt that the second type of similes are more valuable. Snajar Kashani was a great poet o Indian Style in eleventh century who employed plenty of similes in his poetry. There is a wide range of things compared in his similes. He was inclined to use to choose abstract ideas, human beings, and their parts of their bodies as his tenors. His vehicles mostly include objects, tools, and natural phenomena. More than half of his similes are structurally eloquent and they have major role in the richness on images in his poetry. Though Sanjar associates simile with other literary figures and it has caused compression of literary images, it has not led to vagueness and ambiguity in his poems. Some of the methods for using similes are personalized by Sanjar and he connects them by symmetry. Besides, Sanjar had special interest in in words such as “grass” and “store” and has created many similes using these terms. He also defamiliriazes some of common similes by adding a new element to them. It must be noted that the images offered by his similes are mostly static and fixed.

Saadi is one of the Persian poets and writers who have composed poems in different forms of Arabic language that shows his special skill and fluency in this language. Metaphor, as the most important rhetoric issue, has been discussed and analyzed in Saadi's Arabic poems in present research. It should be noted that he has totally used the metaphorical images 109 times, out of which 25 as stipulated and 84 as implicit metaphors. In using metaphors, he has paid his most attention to personification, the way he has presented 82 of his metaphorical images. This type of metaphor utilization has resulted in richness of images, dynamism, mobility, and human life in Saadi's Arabic poetms. The most important feature should be considered of the metaphorical images in these poems is their simplicity and clarity which helps, far from any ambiguity and controversy, conveying the thoughts and the themes of the poet's mind.

The impact of the different alpha on the dynamics of a shear-free turbulent mixing layer is investigated. To this end, two-dimensional incompressible generalized equation is numerically solved using pseudo-spectral method. Is a positive number that it shows relation between stream function and vorticity in furrier space. (This study so called alpha turbulence). Dynamics of the turbulent interaction is examined through relevant statistical parameters such as skewness and kurtosis of the velocity components. It has been observed that decreasing the alpha, increases the intermittency and anisotropic level of interaction. The family includes two physically realizable members. It is shown that the enstrophy cascade is spectrally local for , but becomes dominated by nonlocal interactions for . Numerical simulations indicate that the spectral slopes are systematically steeper than those predicted by the local scaling argument. Furthermore, it is found that the physical space structure for the local transfer is dominated by the small scale vortical structure, while it for the non-local transfer is done by the smooth and thin striped structures caused by the random straining motions.

Babafaghani and Vahshibafghi are two Iranian stylistic poets who have played significant roles in the history of Persian lyrics; hence, for thorough analysis of their lyrics, the present descriptive- analytic article has a look at the most brilliant musical manifestations of poetry- rhyme, arud, and radif- in the odes of these two great poets. It must be noted that in terms of external music, the poets have a lot in common enjoying close taste and interest in choosing meters and rhythms. All selected weights of these poets are among the most eloquently melodic and usable weights in Persian poetry, in a way that even a disagreeable and low use of weights is not seen in their ghazal collections. The key point is that the selected weights of both poets have a close proximity with the concepts raised in the poems. The important point is that the meter of both poets is closely linked with the concepts and themes raised in their poems. Yet, from the lateral music point of view, it should be reminded that in Vahshibafghi, the highly frequent vowels are more melodious, whereas Babafaghani 's radifs with their lengthy combinations are musically more valuable.

Badr Chachi was an eighth-century poet who has had a great reputation in India. Based on the available biographies, his poem collection has been been popular all over the subcontinent for a long time. On his poetry style, it can be stated that his poetry is known for ambiguity among the experts. The main reason for his ambiguity is the excessive use of metaphor in his poetry, so that his poems get close to riddle.
His interest in metaphor is to the extent that in some of his images, he resembles metaphors to metaphors or other elements. Moreover, he had a great interest in adorning the metaphor with other figures of speech, such as zeugma and amphibology. So, careful review and analysis of his fancy metaphors as the most important element in his poetry is essential. Hence, using descriptive-analytic method, this study attempts to analyze metaphors in his poems.

Shahāb al-Din Mohammad Zeydari Nasavi, the author of “Nafsat al-Masdoor”, as one of the outstanding technical, literal and stylist prose writers, had a great interest in using different innovative and expressive arrays to illustrate his works. He looked simile as an essential element of fantasy, and a unique approach in presenting themes, ideas and sometimes transmission of emotions and feelings. This study is to review and analyze this expression technique in his Nafsat al-Masdoor, particularly from the point of the rhetorical approach. it should be said that Zeydari had totally used 241 cases similes from which abstract elements and natural manifestations have had the most usage. In terms of the structure, more than 61% of the similes have been used as additional components that impact on text distinctness and inspiring of imageries profoundly. The importance of Zeydari’s work is the manner he introduces similes, for most of them are the result of author’s innovation and creativeness. Meanwhile, he has often used these similes along with different verbal and semantic arrays particularly rhyme and pun and ambiguity, which led his words being consisted of fantasy and music multi-layers.

This research is the result of a thourough reading of distichs of Khaghani and Sanaee's sonnets. After an introduction about definition of pause and its history among prosodies, the relation of pause and poetryis touched on. By presenting some graphs, the use of this poetic option is compared and contrasted in the sonnets of these two outstanding poets. Upon analysing the data, at the end we came to the conclusion that, with the evolution of prosody of Persian poetry, rate of application of pause in khaghani's sonnets is less than sanaee's and because of this khaghani's sonnets has more phonetic and musical values.