Philosophy for children (P4C) is an innovative program in training and nurturing which has been founded by American Mather Lippman in late 1960s. It mainly aims to teach thinking ability to children. In P4C, story plays an essential role which is considered as the main training tool for philosophical contents and thinking ability. Trying to conduct and expand their programs, the thinkers of this program have written various unique stories which possess literal, philosophical and psychological richness. Some critics believe the efficiency of such stories in different countries depends on their relevance to the moral criteria and cultural values of countries. The present study which is a kind of descriptive-analytical one based on library sources aims to analyze literal, philosophical and psychological richness of Little Black Fish (Mahi Koucholou-ye Siyah) by Samad Behrangi. The findings reveal this story has high richness in terms of the three criteria, although there are some weaknesses. Correcting these weaknesses, Little Black Fish (Mahi Koucholou-ye Siyah) can be read and used in P4C program leading to richness of this program in order to be localized in that country.

Persuasive process is an important and open topic in discourse sign-Semiotics. The article tries to analyze type and frequency of persuasive factors in narrative discourses of Azerbaijan Folklore Narratives based on sign-Semioticsapproach and inductive method. The selected narratives are Mahi Siyahe Koochooloo (The Little Red Fish), Kachal Mam Siyah (The Bald Mamsiah), Koroghloo, 24 saat khab o bidari (24 Hours of Sleep and Wake), and Yek Holoo Hezar Holoo (One Peach, One Thousand Peaches) narratives. In these narratives persuasive factors like reasoning, planning, building trust, caution, promise, etc. are used considering the situation and the addressee. From 145 persuasive processes and 24 types of persuasive factors, caution, threat, incitement, reasoning, promise, and rodomontade have the highest frequencies. 1/4 of persuasive factors belong to caution and threat but the rate of success in these two factors is not the same. Bribery, hesitation, compliment, flattery, curse, emphasis and playing to be oppressed were just in one case. The analysis showed that the exhort and frightening of doing outcomes is the dominant style in Azerbaijan Folklore Narratives. There is the highest percentage of persuasion failure in Mahi Siyahe Koochooloo narrative because of the insistence of the doer on the realization of his goal. There is the highest level of persuasion success in Kachal Mam Siyah and Koroghloo because of the power relationship.

Julien Greimas, a French man with Lithuanian descent, has a great knowledge on semantics and narratives. Greimas, who is one of the highlighted European thinkers on the grounds of “Componential analysis” of semantics, has tried to present a coherent and systematic pattern for the study of narration and story. This article is based on the semiotics analysis of “Mahi seyah kochoolo” (Little black fish) story and it tries to review the semiotics phase of this discourse according to Greimas model of study.In this article, we examine the semiotics process of “Mahi seyah kochoolo” story in order to find a right answer to this question: “What are the main elements, which make meaning in the aforesaid story?” In other words, “What are the elements of meaning production in this story?” The aim of this article is to review the narrative features of this story in order to make clear that how a story will pass from itself to break the narrative restriction and cause narrative diversit.

Māhī Darham (Twisted Fish) pattern is one of the oldest carpet designs in Iran, which had been woven and presented in most of Iran’s schools and centers of carpet weaving for a long time. Farahan is one of these centers that introduced to the world from the middle of Qajar era by Tabriz merchants with local and then its classic carpets such as Sarooq. The pattern of the Māhī Darham, in the local term as Herāti, is one of the most important and prominent designs of the Farahan region, which in the past was woven and presented in various forms and structures. In this article, while introducing examples of Māhī Darham design from different regions of Iran and the world, various forms of Māhī Darham forms in Farahan carpets are analyzed and described. Existence of eleven forms in Farahan Māhī Darham is one of the most important findings of this research which are: Māhī Zanbūrī, Fandoqī, Ādābī, Ḥaydarzādeh, Sag Māhī, Morḡ va Māhī, Māhī Mašāyeḵī, Māhī Lačak va Toranĵ, Māhī Toranĵ dar Toranĵ, Māhī Sar tā Sarī (Yek Sareh) and Māhī Kaf Sādeh. This is a basic research based on and descriptive-analytical research method with data collected through Library and mostly field study.

Journey has always occupied a unique position in world literature. The current paper investigates the concept of journey in children and adult’s narrative literature. Samad Behrangi’s “the Little Black Fish” concerns the challenges faced by the main character while passing through different stages of the mystical journey. The present paper aims at investigating the comparability of the stages of the Little Black Fish’s journey with that of the birds in Resalat Al-Toyur by Ahmad Ghazali. In the two works, the stages are not distinctively named. In Attar’s Mantegh Al-Tair, as an adaptation of Ghazali’s work, the seven stages of the mystical journey includes: quest, love, wisdom, independence, monotheism, amazement, indigence, and death. This framework is employed in comparing the aforementioned stages. The findings revealed that the stages are remarkably similar to each other. The major reason for the existence of such an incredible similarity was originated in the fact that they belong to mystical literature and cover the same theme of “Mystical Journey”. Last but not least, the similarity may also have its origins in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.
The Notion of “journey” has been always given a unique position among the other multiple interesting concepts in the world literature. The current study is an investigation of this concept (Journey) in both children and adult’s narrative literature. Fiction or narrative literature has played an important role in showing the impact of “journey” on religious, cultural, and social changes.
“Journey” has appeared in children’s literature, both in the form of physical and spiritual journeys. The story of The Little Black Fish is one of the few works that deals with the topic of spiritual journey in a pleasant and delicate way. This story comprises a lot of symbols that, if explained and decoded, reveal the deep layers of the story to the reader. In adult narrative literature, there are also works in the field of travelogues and spiritual journeys, the latter of which is referred to as a “mystical journey”. In the classical literature of Iran, a large quantity of outstanding works on “mystical journey” exist. Attar is one of the most prominent literary figures of Iranian-Islamic mysticism and his “Mantegh Al-Tair” is a masterpiece in Persian literature. This book is considered as an adaptation from Ahmad Ghazali's “Resalat Al-Toyur”. In the present paper, the primary focus is on the stages of journey in “Resalat Al-Toyur”.
The research questions are as follows:1) Is the journey of the “Little Black Fish” comparable to that of the birds?
2) Which of the stages on the journey of birds is comparable with the stages of the journey of the black fish? How can we analyze the journey of the black fish in the context of the journey of the birds?
3) What factors can influence the comparability of a work in contemporary children’s literature with a work in classic adult literature?
The story of The Little Black Fish is written by the famous Iranian writer, Samad Behrangi, and is referred to as one of the most important works of Iranian children's literature. This book was published in 1968. The story of The “Little Black Fish” was chosen from among various works of Samad Behrangi since it was his only work on the mystical journey. The “Little Black Fish” concerns the challenges faced by the main character in passing through different stages of the mystical journey.
Ahmad Ghazali was a mystic jurist and a jurist mystic. In The Resalat Al-Toyur, he has pleasantly narrated the journey of the birds to the King-Simorgh palace.
In studying literary works, the focus is usually on the text, the writer, and the reader. In the current comparative study, the authors could be divided into two groups of contemporary and classical. Readers also belong to two different groups in terms of age. However, the texts are well-matched since both are among the famous literary works of Iran and share the same theme of mystical “journey”. Both works also enjoyed an allegorical and symbolic language.
In Attar’s Mantegh Al-Tayr, as an adaptation of Ghazali’s work, seven stages of a mystical journey are engaged which include: quest, love, wisdom, independence, monotheism, amazement, indigence and death. This taxonomy was employed as a model or framework in comparing the stages of the mystical journey
In the current research, the stages of journey in “The Little Black Fish” (in the contemporary children’s literature) have been compared with the stages of the mystical journey of the birds (in classical literature). In the two works, the stages were not distinctively named. However, all seven stages of the journey of the birds could be identified in Samad Behrangi’s “The Little Black Fish”.
Amazingly, the classic framework of Ghazali’s and Attar’s mystical journey of the birds was so applicable to the story of “The Little Black Fish” that it seemed as if Samad Behrangi had artistically and delicately arranged the stages of the black fish’s journey in accordance with the stages of the mystical journey of the birds.
Behrangi was quite familiar with children’s language, and he was also familiar with the classical Persian masterpieces like those of Ghazali’s and Attar’s. It does not seem improbable that while he was writing The Little Black Fish, he also might have been thinking about the stages of the mystical journey of the birds. The process could also be of unconscious or subconscious type. In any case, what was found in the present paper indicated the high comparability of journey stages in the two works in Persian (children and adult) literature.
The findings of the current research indicate that the story of “The Little Black Fish” can be compared and interpreted based on the framework of the journey of the birds in Ahmad Ghazali's Resalat Al-Toyur and Attar’s Mantegh al-Tayr. It was realized that the stages of the journeys of the heroes in the two works were remarkably similar. The major reason for the existence of such an incredible similarity was found to be the fact that they belong to mystical-literature and cover the same theme of ‘mystical-journey’. Last, but not least, the similarity may also have its roots in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.

Calligraphy is one of the earliest, most creative and invaluable Iranian arts which has undergone many developments. In the history of Iranian calligraphy, Siyah Mashq is one of the fundamental developments which started its progress before the Qajar era, especially in the Safavid era, and flourished significantly during the Qajar period. "Siyah Mashq" is a calligraphic form that could be associated with the components of modernism, reflected in the works of Qajar calligraphers such as Mirza Gholamreza Isfahani, Mirza Mohammad Reza Kalhor, Mir Hossein Turk and Mirza Kazem. On the other hand, the abstract expressionism that emerged in the post-World War II era in the United States may be regarded as one of the latest art forms in the West influencing Iranian calligraphy and painter artists. This art movement which is a kind of pattern-free painting, lacks basic forms while utilizing a spontaneous, dynamic and free-spirited style. The strange affinity of the black practice with the abstract expressionism grown rapidly in the West, made some Iranian calligraphers and painters combine their own manuscripts with modernism and use their visual culture as well as the products of expressionism. So, they created a new style of art. From the artistic point of view, calligraphy from of Mir Emad period, so far, has experienced little development and nothing new has been said in Nastaaliq calligraphy except for the Siyah Mashq. From the emergence of today's Siyah Mashq, another artistic development has taken place in Nastaliq, the emergence of modern calligram and graphic calligraphic effects that has opened a new era. Many secrets lie in letters and words, which are revealed in the calligram. Siyah Mashq is in fact the way of the art of calligraphy to this day. The way in which a new word comes up. Calligraphic graphic may seem canvassing, but from the evolvement point of view, it is an inevitable and algebraic evolutionary movement in order to link to traditional calligraphy with today’s modern art. The purpose of this article is to examine the common and diversified aspects of Qajar Siyah Mashq and the abstract expressionism in painting and the attempt is made to answer the following questions: 1. What are the visual features of Qajar Siyah Mashq and the abstract expressionism in painting? 2. What are the universal aspects of the Qajar artists and the abstract expressionists in the painting? Undoubtedly, the world of Iranian calligraphies and paintings is not incompatible with the abstract expressionism of the West. Considering the influence of these two works of art on the formation of a group of works of contemporary Iranian artists, the study and recognition of the commonalities between these two streams is very significant and contemplative; and to distinguish between Siyah Mashq calligraphy and abstract expressionism paintings. It is noteworthy that although some research has been done in this area, the comparison of the two artistic fields is a subject that has not been addressed in other studies. The research follows a descriptive, analytical and comparative method and data gathering developed through library study and referring to the video resources. According to the studies conducted, the research findings demonstrate that sharp contrasts, shades, blacks and whites, positive and negative spaces and using spiritual colors and combinations based on classic golden proportions and aesthetics are of common aspects in the Qajar Siyah Mashq. Also, using the physical colors, modern and inexperienced compositions, are among the differences found between these two styles. Semantically, Siyah Mashq roots in mystics and originates from the inner peace, however, the abstract expressionism relies on the spiritual influence and emotional reactions.

The purpose of the current study was to investigate the effect of a high- intensity treadmill running (8 weeks) with or without aqueous extraction of black Crataegus-Pentaegyna (Siyah -Valik) on liver ABCA1 mRNA expression and plasma HDL-C, total, and direct bilirubin concentration in male rats. Twenty Wistar male rats (4-6 weeks old, 140-170 g weight) were used. Animals were randomly assigned into training (n =10) and control (n =10) groups and further divided into saline-control (SC, n=5), saline-training (ST, n=5), black Crataegus-Pentaegyna (Siyah-Valik) Control (SVC, n=5), and black Crataegus-Pentaegyna (Siyah-Valik)-training (SVT, n=5) groups. Training groups have performed a high-intensity running program (34 m/min on 0% grade, 60 min/day and 5 days/week) on a motor-driven treadmill for 8 weeks. Animals were orally fed with black Crataegus-Pentaegyna (Siyah –Valik) extraction (500 mg/kg body weight) and saline solution for last six weeks. A significant differences have found in liver ABCA1 gene expression between SVC and SVT (P<0.003) and between SVC with SC groups (P< 0.038). HDL-C levels were significantly (P<0.036) between groups. A higher HDL level was found in SV treated groups and between SVC and SC groups. The levels of bilirubin total and bilirubin direct remained unchanged. The current results show that high-intensity treadmill running affected liver ABCA1 mRNA expression in different directions in saline (increase) and SV (decrease) treated animals. Findings also indicate an opposite pattern of change in saline and SV treated animals at rest. It seems the existence of opposite effect of exercise with supplementation of SV might be attributed to the suppression of lignds which is provided by SV supplementation at rest. This in turn might be also taking in account in lower liver ABCA1 mRNA expression and its related nuclear receptors such as LXR in SVT not ST groups.

Samad Behrangi is one of the first Iranian authors who wrote stories for children and his The Little Black Fish is one of the great masterpieces of children and young adult literature. In this story the little fish is bored by both a barren life in a restricted area and narrow mindedness and vanity of its fellow creatures so it decides to go toward the unbounded environment and gain knowledge and new experiences. Therefore it ignores all the existing traditions and taboos and enters upon a risky road. Behrangi's The Little Black Fish and Richard Bach's Jonathan Livingston Seagull have some similarities in content meaning and structure (layout point of view narratology and symbolism) In this study these two stories are comparatively discussed through a descriptive analysis and by finding the similar and different points of the mentioned stories aims to show the mental cultural and artistic common points of two authors from two different languages.

This article is an archetypal study of hero's journey in the story of Little Black Fish by Samad Behrangi. Campbell has considered three stages for the hero's Journey: Departure, separation and return. He believes that the development of archetypes requires passing through these stages. Pearson believes that twelve archetypes get active during these three stages. In the starting stage, archetypes of innocence, orphan, warrior and protector become active; in the second stage, seeker, destroyer, lover and creator and in return stage, the governor, wizard, wise and clown get active. This story can be considered as describing the individuation process of the little black fish. In this narrative, the little fish, influenced by an old snail hoping starts his journey to reach the sea that is a symbol of his unconscious to meet with anima. The symbolic end of the story has prevented the return stage; hence, the archetype of wizard is not manifested in the transformation of the hero.

Reproductive biology of Siah mahi, Capoeta capoeta intermedia was studied by examining 330 individuals collected between November 2012 to October 2013, by regular monthly collections in the Shapour River, Iran. Overall female-male (F-M) sex ratio was 1:1.66 and their total length (TL) was 15 to 29 cm (19.83 ± 2.3) and 15.5 to 26 (19.85 ± 2) cm for females and males, respectively. The minimum and maximum weight of female and male calculated 36 to 250 g (93.4 ± 38) and 36 to 183.27 gr (87.24 ± 25.9), respectively. Reproductive period for this species is from February to June when GSI is considerably higher than the rest months. The absolute fecundity (AF) of siah mahi ranged from 105 to 8134 eggs per fish, with mean AF value of 2252.6±310 eggs per fish, varying considerably at given length and weight and there was a positive linear correlation between AF with total weight (p