After its publication, "Mirrors With Doors" (1371) aroused different reactions from writers and critics. Some of these reactions came from those who just settled to criticize and deny the work's values to the extent that as if there is no positive point in the whole work. Darvishiyan, Barahani and Gharib are among these critics. Drawing on the theories of novel, Barahani criticizes reasonably and sometimes has some quick references to the positive aspects. Darvishiyan's criticizes ideologically and idealistically and relies heavily on political obsessions regarding content and on loyalty to traditional criteria in story writing, hence prejudiced and fanatical. Although Gharib's tone is mild and flexible, his reasoning is shallow. Supporters of Gholshiri, such as Faraj Sarekoohi and Shahriyar Vaghfipoors, on the other hand, recognize his style as innovative and flawless in structure, and consider "Mirrors With Doors" as a perfect example of story writing. The opposing critics believe that it presents an "unreal" and "confused" image of us

Although the term postmodernism is repeatedly used by the writers and even critics in Iran however due to the unfamiliarity as to its true origins, principles and features of this literary genre, believing in such a movement in fiction in this country is always discernible. As to descry certain features as a basis according to which one can determine whether a work is postmodern or not and whether those features were adopted merely as a universal model together with the question whether these texts to the same measure that they are deconstructive, do they remain fiddle to the endemic possibilities of Farsi language and its past, are among the main questions this research and analysis is aimed at answering.
The following works of Hooshang Golshiri short stories such as ”the night of doubt’, “A man with a red tie”, “A picture for my empty frame”, “The first innocent”, and “the garden’s prisoners” and long stories and novels like “Prince Ehtejab”,“Christian and Kayd”, and “ the mirrors with doors” were selected for this purpose.

“Migration” is not a modern concept or phenomenon; however, due to the modern  situation and self-consciousness of humans, the outlook toward it has changed in the twentieth century and especially in its second half.  Otherwise, migration and migrators have existed from the very beginning of creation ( great people such as Prophet Abraham and Prophet Mohammed and his disciples, or the large number of refugees during wartime are some examples). However, what here makes Kundera and Golshiri's view of the concept of migration different is the way they illustrate the alienation of the migrators  (Golshiri 's view in Mirrors with Doors) and their return to their countries (Kundera's view in Ignorance ), grasping the distinction between themselves and their compatriots and even their kin. Golshiri depicts Iranian immigrants living abroad and Kundera takes immigrants to Prague; notwithstanding these differences, both authors have written about migration, immigrants, and the transformations which occur in this process , finally leading to two different conclusions.

The present study has been carried out by applying the components and discourse strategies of Roger Fowler in order to reveal the ideology of the author and the social actors of the novel of Mirrors with Doors. In his discourse theory, Fowler pays special attention to the structure of the text in the fields of superstructure and deep structure. Therefore, the present paper has tried to gain a deep understanding of its construction through the analysis of the superstructure of the novel of mirrors, according to Fowler's views. In this regard, the main question of this research is to seek the strategies Houshang Golshiri used in the superstructure of his work in order to show the depth of the text. The method of this research is qualitative borrowing a descriptive-analytical approach to describe and evaluate the data. The results indicated that Glorification and Marginalization are the governing mechanism of novel discourse practices and behaviors. Using the following strategies, the author has been able to demonstrate the ideology of the Iranian immigrant communists: Discourse functions of pronoun reference, suspension, ambiguity, modality, activation, question sentences, changing the position of sentence elements, removing some linguistic elements, and anachronism. The most frequent discourse strategy is related to the component of pronoun reference and the least frequent is related to changing the position of sentence elements. It should be noted that the above-mentioned discourse strategies are the most important features of Golshiri's novel superstructure.

Castles of Chahar Mahal 0and Bakhtiari province are among the most valuable memorials (monuments) of Qajardynasty and their archeological_ related ornament always have special manifestation. One of these ornaments istrelliswork of wood that has been used in different parts of these castles. Trelliswork is the art that has been usedin archeological_ related ornaments such as tiling, brick working, molding, mirror working and especially woodendecoration of doors, windows, roofs, shrines and similar cases. Considering this unknown art and the extensiveusage of wooden trelliswork ornaments in castles of Chahar Mahal and bakhtiari in roofs (ceils), doors, windows,valves and skirtings, in this research, the trelliswork of castles roof is merely considered for recognizing differentsorts of nodes, using places and adaptive comparison; so this study has been done by analytic_ comparative methodwith field observation and data collection. According to the findings among the castles of province, woodentrelliswork ornaments were only used in the ceil of Chaleshtor, Dezak, Joneghan, Shalamzar, Surk and Bardehcastles. Among 13 different kinds of nodes used in ceils’ ornaments Lozenge_ square node had the most functionand geometrical composition of these nodes and complexity and intricacy in internal spaces than external ones.

Any writer preoccupied with politics, history and power unconsciously echoes them in his/her works as it has happened to Houshang Golshiri’s works. Golshiri was a writer who used to study authentic sources about the history of Iran and took advantage of intertextual methods when reading ancient texts all of which along with his political points of view are seen into his writings.Political and Marxist criticism is inspired by works of Marx and Engels who have influenced almost all twentieth century’s political critics. Even the works of Iran’s literary worthies like Hafez and Ferdowsi could be read from political perspectives. Golshiri, interested in the works of Hafez and Ferdowsi, and almost their disciple, has written political works. When reading his works carefully, we will find between the lines that he is one of the most political Iranian authors. The purpose of this article is to show that Golshiri’s works can be read from political as well as intertextual perceptive. Intertextuality is a concept derived from the works of Russian Formalists especially Mikhail Bakhtin, a political writer and thinker. Intertextuality has a wide range of meanings and is open to debate among critics such as Kristeva, Gennet, and Barthes. This paper, however, focuses mostly on Mark Angeno’s intertextual perspective, because it invites the literary production into a network of interactions of social discourses. This approach takes a fresh look at the importance of literary works in a symbolic way and sheds light on these interactions in a political society.

A word in the source language has different implicit and indicative meanings, in such a way that it is difficult to choose words with the same meaning and equivalent, even in a foreign language. Also, if this word has a special cultural value, it becomes much more difficult to transfer all its semantic layers to another language, especially about culturally heterogeneous languages and because different languages have different cultural, social and religious aspects, there are countless criteria in the translation of such cultural elements.

The Persian text of the novel Doord Mirrors is expressive of customs and full of cultural elements. For this reason, we analyzed the cultural elements of this novel by relying on the descriptive-analytical method. The aim is to identify cultural differences and how to reflect changes in the context of speech in narrative works and to examine the translation of cultural words and expressions based on intercultural and interlinguistic differences. Evir's classification is based on words and since cultural elements appear first at the level of language vocabulary, we have chosen this model to investigate the translation of cultural elements in Doord Mirrors. For this purpose, based on Newmark's classification and Hashemi and Ghazanfari- Moghadam's portfolio, we extracted cultural elements and showed their number in the form of a diagram. Then, we evaluated its translation method based on the model of Evier (1987) and showed it in the form of a table and the questions put forth are: What are the basic strategies of the translator and the level of success in transferring the cultural elements of the novel Aineh Darar to the target language? Which one of the strategies of the Ivir model is used more frequently in the translator's translation?

Peter Newmark has divided the cultural elements into five categories according to the patterning of Naida's cultural vocabulary and Ivir proposed seven methods for translating cultural elements. It is believed that the translator tries to bring these two languages and two cultures together with one of the following strategies: 1. Transference, 2. Definition, 3. Literal translation, 4. Substitution, 5. Lexical creation, 6. Omission, 7. Addition. Hashemi and Ghazanfari-Moghadam (2013) in the article "Indigenization of Newmark's five-fold model of cultural elements" have pointed out that in the analysis of some data. There are cases that do not fit into any of Newmark's classification. They added four more classes to this classification, which are:A. colloquial phrases and idioms ;
B. units and figures ;
C. Address titles and items ;
D. Visual, auditory, tactile and fragrance items .
They both believe that there is no suitable branch to address titles in Newmark's classification and in the Persian language. The use of these items is more varied according to the degree of importance and adherence to religious and political issues, for this reason, the use of these forms can be categorized as "geographical and social dialect and accent”. We also put units and figures in the category of political and administrative affairs regarding the "phrases and terms" that Hashemi and Ghazanfari-Moghadam added to this classification, we can place it together with the "ecology" class under the main class group entitled Environment and Place. Therefore, in the classification of the desired samples in this research, we used the

Salim Abdul Amir Hamdan stayed in Iran for a long time, learned the Persian language and because of her interest in contemporary Persian literature, published translations of the works of writers such as Hoshang Golshiri, Mahmoud Dolat-abadi, etc. For this reason, in some cases, she was able to pass the cultural elements of the novel through the cultural filter. He based her equivalence on substitution and tried to recreate the message approach in the form of the target language. In this novel, according to the amount of use of cultural elements, the component of idioms with 95 items has the highest frequency and the component of cursing and swearing has the least frequency with no items. Substitution with a frequency of 50% and 57% and borrowing with a frequency of 20% and 23% are the most used solutions by translators in translating cultural elements. And this shows that Salim Abdul Amir Hamdan did not use the combined method of borrowing with definition and did not define (clarify) the phrases for the reader in the text or footnote, but the positive point of her translation is the little use of literal translation and the negative approach of removing and not using the addition component.

Purpose of the study is investigating the effect of changing room on behavioral and emotional reactions of customers in malls. Goal of the study was to investigate the possibilities of changing rooms and their relationships with customer reactions between young women's shopping centers in Tehran through qualitative method and phenomenological approach and through in-depth interview with the participant. Evidences which collected by inductive coding were analyzed in several steps by using MAXQDA software and the theoretical model was drawn. Initial codes are generated in open coding and 50 items (easy decision-making, reassessment, re-evaluation, re-testing clothes, repeat shopping, recommending others, shopping satisfaction, avoiding clothing testing, avoiding shopping, leaving Shop- no Clothes testing, No return, Good feeling, Reliability, Security, Relaxation, Delight, Comfort, Reluctance, Frustration, Choking, Regret, Lack of Confidence, Doubt, Lack of Relaxation, Anxiety, Shopping ghost, Bored , Unpleasantness, Worry, Slippers, Calling alarm, Carpet flooring, Platform, Chair, Existence of Clothes, Bad Smell, Cleaning and Cleaning, Room Interior, Air Conditioning, Proper door, Cooling & Heating, Interior design, Filling mark, Swap room Location, Lock, Dimensions and Size, Color swap room, Proper lighting, Mirror), 8 Items (Positive response, Negative reaction, positive emotions, negative emotions, facilities, health, structural and basic) and 4 categories (Behavioral response, Emotional response, Requirements of the dressing room, and Good product evaluation) were identified.

Acute Myocardial Infarction is one of the most common diseases all over the world and the first cause of death in Iran. Reperfusion therapy is the cornerstone of the effective treatment in these patients. Early thrombolytic therapy leads to better coronary reperfusion، and a greater reduction in mortality and reinfarction rates. The main purpose of this study، was to evaluate the effect of ESI triage، in improving the time of fibrinolytic therapy، in patients with ST-elevation MI، in emergency department of Imam Reza Hospital (from December 2009 to june 2012). This was an observational prospective study - before and after the implementation of ESI triage- Carried out، in 210 patients with STE- MI، referred to Imam Reza Hospital Emergency department. We compared door-to-ECG and door-to-needle times، between the two groups; spot check triage and ESI triage. Overall 210 patients were included in this study، 105 patients were triaged through spot check method and 105 patients triaged through ESI triage. The mean age of the patients، was 55. 56 ± 1. 36 years The door-to-ECG time was significantly lower in the ESI triage group than spot check triage ones (35±10. 38 v. s. 15. 02±10. 33 mins) (p<0. 001). The door-to-needle time was also، significantly lower in the ESI- triaged patients (50. 23±11. 10 v. s. 30. 56±6. 03 mins) (p<0. 001). Implementation of ESI triage، can Significantly lower the door-to-needle time in the patients with STEMI، and hence، decrease the morbidity and mortality in these Patients.

The Sheikh-e Jam tomb in Torbat-e Jam city is a museum that holds in itself works from the Seljuk era to the Qajar era. This architectural tomb has many decorations such as brickwork, tile, stone carving, plastering, plaster painting and etc. Part of the Sheikh-e Jami tomb are wooden doors, which can be mentioned in particular with the doors installed inside and outside of the tomb, as well as one wooden door is in the cellar. There is no scientific reference to the date or time of construction of these doors. The purpose of this article is to study the technical and artistic specifications of the above mentioned doors and to determine the date of construction of the doors (five doors). This theme was investigated by matching the design and motif, composition and structure of the door inscriptions with Works of historical index from the 8th and 9th century AH in the field of tile and woodwork. So the questions are, what is the decoration of the wooden doors and the Door of cellar in the Sheikh-e Jam tomb? and When do these doors were made(Which historical period)? The research method is descriptive-analytical and historical. The domains studied are described in the first step in terms of inscriptions, motives, and execution techniques. In the second step due to proper analysis, vector designs were done and in the final step for dating were compared with the works of Timurid index in Khurasan. According to the authors' studies, these works are supposed to have been made in the Timurid period. The method of gathering information is based on library studies and especially field studies, interviews and photography of works. The results show that decorations of the doors consist of two parts: inscriptions and simplified plant motifs. The inscriptions on the two doors of dome and cellar have the name of God (al-Molk): decorative Kufic script. The decorative motifs include the arabesque design, the arabesque frames and the Plant motifs (Khatyi) carved  on all parts of the doors. The motifs are; the flowers and the buds and the leaves. The motifs of the door were compared with the works of the Timurid Index to find out the  making history of the doors. Timurid index works selected and studied include the wooden mosque of Azqad of Torqaba On the outskirts of Mashhad, the south porch of the Goharshad Mosque of Mashhad, the wooden grave box preserved in the Shandiz Virani museum On the outskirts of Mashhad, the wooden doors of Mosalla preserved in Museum of Khurasan-e Bozorg, wooden door and tile works of Abu Bakr Tayyebi Monastery in Taybad  city and Qiasieh School of Khawaf city. The structure and the style of inscriptions of these doors, the structure and composition of plant motifs and arabesque decorations and the style of embossing were compared with the Khurasan index in terms of technique, type of construction, design, design features and structure. In  the article this issue was compared in a comparative table. Comparative studies of the technical and artistic principles of the above-mentioned works and the wooden doors of Sheikh Jami's tomb in Torbat-e Jam showed that these works can be attributed to the first Timurid period (first half of the 9th century AH).