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Simin Daneshvar and Ahmed Mahmoud are two contemporary and famous writers who had paid great attention to the culture of the people. Their works are full of various elements of public culture and oral literature, in a way that the names of some of Daneshvar’s works like "Suvashun" and "Bakht Goshaie" are originated from the themes of public culture. Of course, in the works of both of them, there are common cultural themes that are expressed in different ways, and this difference whether expressed in terms of quantity or quality, is evident in the works of both writers. Precision in the way of life, gender, education and awareness and different characters of   the two authors can reveal their different manners of expressions, and with these different exceptions, level of precision and  national honor, as well as the love and hatred of each one can be diagnosed even at the different fictional space.

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The interaction between literatures among nations is examined through the common concepts and interinfluence of poets in literary works in the field of comparative literature. Part of contemporary poetry in today`s society is based on social life, and the interinfluence of poetic hypertexts in the  social , political and economic environments prominent to society .
   Shamlu, Paul Éluard and Hughes are the poets who have done poetry from three distinct cultures and in a common century, in different geographical settings, of course. The main fields of the poetry of these three were influenced by social life and during a period of their poetry life , they tended to the left ideology and these tendencies have created common themes in their poems . Themes such freedom, justice ,fight against oppression and despotism (tyranny), attention to the workers living conditions, the representation of Marxist doctrines and the remembrance of those fighters who tried to achieve these goals, make these common points. So that their poetry reflects the situation and crises of their society and the world.
   This research explores in a descriptive analytical way, the poetical works (divan) of the poets discussed, to extract  these similarities and to criticize and analyze them, based on the sociological literary and artistic taste.

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A poem’s rhythm is one of its key features, and a very important element in making language imaginary. The poet does not compose a poem according to a predefined framework; rather all the elements are created in conformity with content and substance. Inconsistency of rhythm and content could be suggestive of the poem’s artificiality. Children’s poetry, too, has a structure in which all the elements come together to form a true system, and it is only when all the elements of a poem correspond to form that this system functions successfully. In order to find the secret to the success of two famous poets in the genre of children’s poetry, namely, Mostafa Rahmandoost and Naser Keshavarz, a great number of their poems and the degree of harmony between rhythm and content in them were analyzed and compared with each other. It can be argued that with regards to the type of rhythm and the poem’s content, a considerable percentage of the poems had this concordance.

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One of the distinctive aspects of Iranian local cultures is the local poems that are composed and sung in the local dialect. Even though they are different from formal literature, these poems are well known among tribes. Long and nostalgic poems are a new phenomenon in local poetry which emerged in the second half of the 19th century in different Iranian tribes. These poems, which mostly reflect the pre-modern age of Pahlavi, are indicators of nostalgia and sad loneliness among local poets and Iranian tribes. In this article, the nostalgic aspects of 40 recognized poems are analyzed. This analysis shows that the return to infancy or nature is the major feature of nostalgia in such poems, and the local poets try to revive the collective memories of the tribe and their local identity by pinpointing the environment, cultures, games, tools, people, and places. Other aspects of nostalgia such as mythology or complaints of life are reflected relatively less in these poems. The representation of the aspects of Iranian local culture in this research demonstrates that these components, regardless of being different, have numerous similarities as well.
 

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Hedayat’s world is filled with nihilistic notions. A world that lacks meaning and is filled with inconsistencies and multi-layered discrepancies. Fictional characters, paintings, translations among other works justify the nihilistic notions behind Hedayat’s cultural life both directly and indirectly. Hence in his stories, Sadegh Hedayat is a character directed to a world of oblivion. This bleakness and descent are more perceivable than any other concept in his work life. However, on the other end of the spectrum is Yuval Noah Harari. A historian who views the world, God, and humans with almost the same perspective long after Hedayat. In the mind of this renowned historian, a strong emphasis on the power of humans in material life is noticeable.  As a result, in this article, an effort is made to expound and compare Harrari’s view in his book Homo-Sapiens along with Hedayat’s short stories concerning three basic elements; God, Human, and the world. In addition, the important aspect of this study is to explain the origin of such viewpoints. A comparative study based on the American school demonstrates that both writers carry the same view about those basic elements mentioned above, and rely on modern biological theories such as Darwinian theory. In the minds of these two writers, humans do not carry any holy or humanistic value; accordingly, the confusion that runs through the minds of Hedayat’s characters respond to this notion

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Quatrain is one of the most popular forms of Persian folk poetry. In the early literary works and in different regions in Iran, various names are used to refer to Quatrain: Fahlavi, Tarāne, Hājiyāni, Qaribi, Faryād, Šarve and so forth. The question is if these different names correspond to different genres with distinct characteristics, or they are merely different names that all belong to one autonomous genre, based on the generic and literary criteria. To answer this question, the structure and content of approximately five thousand three hundred Persian Quatrains were studied, including Čārbeiti, Seytak, Šarve, Ferāqi, Faryād, Falaki, Kallegi, Hazāragy, Hoseinā, Najmā, and Šarbe. The results show that, based on the generic and literary criteria, all of the above-mentioned have the same structural and content features and should be classified under the Quatrain genre.
Introduction
In different regions of Iran and in the neighboring Persian speaking countries, various names are used to refer to Quatrain. For example, ‘Čārbeiti’, ‘Ferāqi’, and ‘Faryād’ are used in Khorasan, ‘Kallegi’ in Sarkavir, ‘Seytak’ in Sistan, ‘Šarve’ in Bushehr, ‘Hazāragy’ in Afghanistan, ‘Falaki’ in Tajikistan, ‘Šarbe’ in Arak, and ‘Šarme’ in Fars. Moreover, in the early Persian literary works, Quatrain is referred to as ‘Fahlavi’, ‘Tarāne’, ‘Beit’, and ‘Robāi’. Even some musical terms such as ‘Jamšidi’, ‘Sarhaddi’, ‘Kuče Bāqi’, ‘Hājiyāni’, and ‘Dašti’ have been used to address Quatrain.
Most of the above-mentioned names have been so popular over such a long period of time that they have persuaded some researchers to consider each of them as an autonomous genre. However, studying these terms, using scientific methods and literary classification criteria might revise this common opinion, as there are great similarities between these different names.
This study aims to investigate if these different names correspond to different genres with distinct characteristics, or they are merely different names that all belong to one autonomous genre. To this aim, the structure and content of approximately one thousand five hundred Persian Quatrain is studied.
The structural and content features of Persian quatrain in different regions have been extensively investigated in previous studies by other researchers like Nasiri Jami (2001), Naseh (2014), Bahrampur (2015), and Zolfaghari (2015b). However, different names used in different regions of Iran to refer to Quatrain have not been studied and analyzed thus far.
Discussion
In comparison to many other types of poetry in the early Persian literary works, a very limited number of Quatrains were recorded, where they are referred to as ‘Fahlavi’, ‘Tarāne’, ‘Beit’, and ‘Robāi’. In the following section, the reasons that these names are allocated to these Quatrains are explained.
Dobeiti (in Persian): This name refers to the number of verses in a Quatrain, which means two verses. Quatrain is a short poetic form that expresses an autonomous content only within two verses, along with rhymes in the first, second and fourth hemistich. Most of the Quatrains have emotional content expressed by an intimate, simple, and casual language in the prosodic meter bahr-e hazaj, and they have been widely used as lyrics for many songs.
Robāi: This name refers to the number of the verses as well. Robai is very similar to Dobeiti, in terms of having two verses and, most importantly, the same rhyme scheme. Consequently, sometimes by mistake, Robai has been used to refer to Dobeiti. However, Dobeiti and Robai are totally different in terms of meter, content, language, and applications.
Fahlavi: Dobeiti and Fahlavi are considered the same mainly because of their historical background in the pre-Islamic period. Indeed, Fahlaviat refers to the poems which are composed in different dialects of the Pahlavi language. These poems have been used as lyrics for songs, mostly in the form of Quatrain. Considering that Fahlaviat have been popular before Dobeiti and the fact that the only difference between these two Quatrains is in the syllabic meter, the current hypotheses put forward by this study is that Dobeiti is an extension of Fahlavi (Bahar, 1976, p. 41).
Tarāne: The melodized Dobeiti is called Tarāne (Shams Gheis, 2009, p. 142). In other words, whenever Dobeiti is presented along with musical instruments, it is called Tarāne. In the past, Robai and Dobeiti were often taken as synonymous with Tarāne by mistake.
Beit: In the Persian literature, two hemistiches together form a Beit (verse). Beit also stands for all forms of Persian poem. Singing ‘Beit’ means singing Persian poem, and that is why sometime ‘Beit’ is used to refer to Dobeiti.
Other terms like ‘Jamšidi’, ‘Sarhaddi’, ‘Kuče Bāqi’, ‘Hājiyāni’, ‘Bidagāni’, ‘Gharibi’, and ‘Dašti’ have been used to refer to Quatrain all of which have the characteristics of Quatrain studied in this article. In fact, these terms are musical expressions mainly used to refer to different musical Magham. Therefore, due to the correlation between Quatrain and music, the corresponding musical Magham has sometimes been used to refer to Quatrain.
Conclusion
In this paper, the structural and content features of the investigated samples are taken into account, and a comparative analysis is drawn between them. The results showed that Quatrain has been referred to by many different names due to its popularity in different eras and regions. For example, in early Persian literary works, Quatrain has been named as ‘Fahlavi’, ‘Tarāne’, ‘Beit’, and ‘Robāi’, while in oral literature, it has mostly been known as Čārbeiti, Seytak, Šarve, Ferāqi, Faryād, Falaki, Kallegi, Hazāragy, Hoseinā, Najmā, Šarbe, and Šarme. Indeed, all the above-mentioned terms are different names for referencing to a unique genre, which is Quatrain.
References 
Bahar, M. T. (1976). Bahar and Persian literature (vol. 1). Ketabhaye Jibi.
Bahrampur, Gh. (2015). Charbeiti: the continuation of the tradition of oral poetry in Iran. Culture and Folk Literature, 6, 75-112.
Naseh, M. M. (2014). A review of the Quatrains from Birjand. Fekre Bekr.
Nasiri Jami, H. (2001). A structural and content analysis of the oriental songs. Mohaghegh.
Shams Gheis, M. (2009). Almo’jam fi Ma’ayir Ash’ar Ajam (edited by Mohammad Ghazvini, Mohammad Taghi Modarres Razavi and Sirus Shamisa). Rowzane.

Zolfaghari, H. (2015b). Application and features poetic couplet in a variety of popular literature. Adab Pazhuhi, 32, 63-95.

 

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In this research, colonialism in the novels The Kite Runner written by Khaled Hosseini and Homeless by Reza Amirkhani was analyzed comparatively. These two novels, which are formed in Eastern culture, have a deep-seated relationship which is the continuation life of the first persons, Amir and Armia, in the west (America). Imigration to this country is a forced one for both of them, during which the author discusses colonialism and its manifestations. The cultural correlation of these works and their formation in a parallel manner have given some similar elements which was why they were selected to be studied comparatively. In this article, which was done in a descriptive-analytical approach, the hero's migration from the homeland, which is associated with a kind of alienation, and the role of colonialism in creating this alienation were discussed. The purpose of this research is to present a new understanding of the concepts and origin of the formation of these novels comparatively. The main issues which were found in these works were: character journey from east to west, Homeland (the depth of the main character in the homeland), the presence of the helping element of the hero (killed by colonialism), Nostalgia, culture (purity of character), The double face of religion, alienation and negation of capitalism.
 

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Currently, the major discussions in the field of Linguistics belong to Typology and Linguistic Universals. Typology is a linguistic study that analyzes the structural similarities among languages regardless of their history. This term was first applied to the categorical and comparative study of linguistic notions by a linguist named Gublentez. Typology is not merely a tool for categorizing and defining general patterns in languages. It is an approach for understanding the nature of language as well. In typological studies, attempts are made to group languages from different families in order to reach more precise studies and results. This article also consists of the same attempt. Persian is an Indo-European language, and Arabic is a Semitic one. Language Universals refer to the characteristics and features which are present in most languages worldwide. This notion is known due to the efforts of Greenberg. After analyzing 30 different languages, he proposed the notion of Language Universals. Typology and Language Universals show a strong relationship and complement each other due to the fact that typological categorization leads to the discovery of universal principles in the structure of languages. The relation between language universals and typology dates back to 1960s. From that point in history, the notion of typology is accompanied by Greenberg’s Language Universals.
Studying the order of structural elements has been one of the most important discussions in the world of Typology. That is firstly due the fact that languages have more differences in this matter and these differences are the foundation of typological studies. Secondly, according to Greenberg, between the order of fundamental parts and other structural features of language exist a typological correlation.The most important and common approach for posing a question in languages is through interrogative words. By using interrogative words various notions such as place, time, people, and causes are subject to inquiry. The existence of such words is universal, that is, it seems highly unlikely to find a language that does not carry interrogative words. In typology numerous factors are analyzed, among which is understanding the movements of interrogative words in languages. Dabirmoghadam (1393) has proposed 24 factors, and factor 22 relates to interrogative words. Topologists have identified two main types: first is that interrogative words replace the element of the notion which is put under question, and second, interrogative words are placed at the beginning of a question sentence. In this study, an attempt is made to study the movement of interrogative words in both Persian and Arabic in order to illustrate their position in the lingual typological system. In addition, the influencing factors on this movement are discussed. The method of this study is analytical-descriptive and selected pieces are from published and online materials (books, newspapers and magazines) in both languages and these pieces are from various areas ranging from social to religious, scientific, literal and so on. In the theoretical framework of the study, there are some details related to interrogative words in both languages and a table is drawn consisting of these words in Arabic and Persian respectively. Meanwhile the movement of interrogative words were defined that in this research it refers to the place of such words in sentences in comparison to the same declarative sentence. In the analysis, firstly some of the important views related to these words are represented; in Persian, views by Bateni (1392), Khanlari (1391), Vafai (1392), Gholamhossein Zade (1391) and Meshkataldini (1374), and in Arabic views by Sibooye (2004), Ebn al Saraj (1999), Hassan (1975), Jorjani (1982) and etc., afterwards, selected pieces which consist the basis of this research are analyzed.
According to the findings of this research, Persian and Arabic fall into different types of interrogative words movements. The tendency in Persian is to replace the element of question, while in Arabic interrogative words come at the beginning of a question sentence. Furthermore, these two languages are compatible to the language universals they represent. With well more than chance frequency, when question particles or affixes are specified in position by reference to the sentence as a whole, if initial, such elements are found in prepositional languages, and, if final, in postpositional. Plus, if a language has dominant order “VSO” in declarative sentences, it always puts interrogative words or phrases first in interrogative word questions; if it has dominant order “SOV” in declarative sentences, there is never such an invariant rule. This conclusion is based on the analysis of cases indictive of the fact that the movement of interrogative words to the beginning of the sentence is a strong tendency in Arabic language. As a result, Arabic language corresponds to Language Universal number 12 since this universe acknowledges the movement of interrogative words to the beginning of a sentence in “VSO” structures. Additionally, since interrogative words in Arabic are among those which question the nature of a sentence, they come at the beginning of a sentence. Language universal number 9 also acknowledges Arabic language since it carries more prepositions.
Furthermore, it is recognized that interrogative words replace the element of question in a sentence. This fact shows the tendency of this language. Therefore, Persian language with the core structure of “SOV” is in harmony with the language universal of number 12. According to this universe, the movement of interrogative words does not tend to come at the beginning of a sentence in “SOV” structures.
 The above-mentioned findings are presented in a table. Another finding of this research is that structural, semantic and processing factors have an impact on the movement of interrogative words. For instance, in Persian the interrogative word of “why” usually comes at the beginning of a sentence since it put the nature of a sentence under question. However sometimes, a conflict occurs between the word “why” and other elements such as “interjection” on the first position of the sentence and the interrogative word gives the space to interjectory words and comes in second. To propose another example, interrogative words tend to occupy the first position in a sentence in Arabic, however sometimes it is observed that the element of question has occupied the first position, while the interrogative word is in the second position. In fact, this replacement is due to the significance of the element.
 
 

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Fusarium solani wasisolated from diseased roots of common bean (Phaseolus vulgaris) grown in fields which were severely infected with Fusarium root rot of bean in Markazi Province of Iran. Specific PCR primer pairs were used for the identification and verification of F. solani (Mart.) f.sp. phaseoli (Burkholder) W.C. Snyder and N.H. Hans. Spore suspensions of F. solani f.sp. phaseoli were subjected to gamma irradiation at 130 Gy using Cobalt-60, and 700 mutants were generated. All 700 mutagenized colonies were tested in the greenhouse for reduced pathogenicity. One mutant (M23) showed the best expected reduction of Fusarium root rot and was chosen to be tested as a biocontrol agent in field experiments. Different concentrations of avirulent mutant (avr-M23) were used against Fusarium root rot in the infested field and their effects on the yield of bean plants were evaluated. The biocontrol effect of avr-M23 on Fusarium root rot was significantly improved with increasing its concentration from 10³ to 10⁹ conidia ml^-1. Best yields (no. of pods per plant and 100-seed weight) were obtained at concentrations of 10⁶ and 10⁹ conidia ml^-1. This study confirms that avr-M23 can be used as a biocontrol agent to protect bean plants from Fusarium root rot under field conditions.

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In the Persian language grammar resources, there are disagreements about the matters such as construction of verb from infinitive or infinitive from verb, dividing the verbs into regular and regular verbs, the number of past morphemes, and originality of phonemes "t" or "d" at the end of the present stems; and even sometimes there are "negligence" in the categorization of causative, prayer and imperative verbs as the regular or irregular verbs.  In this article, the views of the syntax authors are criticized through studying the grammar books and articles, and after concluding in each case, a relatively new classification of the construction of the verb is presented under the new titles as follows: "1. Regular verbs;    2. pseudo-regular verbs; 3. Irregular verbs; 3. multi-root verbs". Other major results are as follows: the past stem is constructed during the initial construction of the present; and infinitive is constructed from the past tense of the verb, but after the emergence of infinitive, the stems are usually recited and recalled on the basis of the infinitive. Out of the last two phonemes of the past stem, the originality is with the phoneme “t” and frequency prevalence is with the phoneme “d”.  Today, there are eight past morphemes in Persian language:  -d, -ad, -id, -t, -st, -est, -ist, -oft, Regular verbs include pseudo-verbs, causatives, prayers and imperatives, and a few other delicate points.

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The present paper studies through a sociological approach the women-oriented literary studies (research papers, books, theses, and dissertations) in the field of contemporary fiction from ۱۳۰۰ to ۱۳۹۴. An attempt has also been made to conduct a critical analysis, by examining and providing tables and charts, of research annals, their increasing trend, popular works and writers, researchers' genders, and research approaches. The findings demonstrate that social factors increased the researchers' tendency toward studying the woman-based fiction from late ۱۳۸۰s. Simin Daneshvar, Zoya Pirzad, and the novels Savushun and I Will Turn Off the Lights have attracted the most researchers' attention, and the number of male researches is higher than that of the female researchers. Sociological, feminist, and psychological criticisms are the primary approaches, and dealing with such issues as patriarchy, feminine identity loss, gender discrimination, violence against women the secondary approaches of the studies. The approaches used indicate that the portrayal of woman in contemporary literary studies, although having become more accurate, is still unpleasant and the values have been ignored.

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The goal of this research is providing optimization approach for bi-objective scheduling work shifts and job rotation problem in order to exploit efficient performance of employees. In this article scheduling work shifts and job rotation problems had been modeled in one mathematical model with two objective functions: minimizing labor cost and maximizing number of job rotation. Also human factors (fatigue, learning and forgetting) that have effect on workers performance were modeled. Presented model was mixed integer and nonlinear and genetic algorithm and ε-constraint technique have been used to solve it and gain Pareto sets. To illustrate efficiency of provided algorithm, its performance has been compared to results of LINGO. The results indicated that performance of genetic algorithm is better than that of LINGO in terms of computational time and objective value. To relate relationship between objectives, set of problems have been solved. Obtained Pareto indicated that there is a conflict between objectives. Hence with considering human factors that have effect on workforce’s performance it is needed to plan work shifts and job rotation simultaneously. Results indicated that the proposed optimization approach is capable to provide suitable alternatives while managers try to consider decreasing cost, increasing jobs variety and multi-skilled training.

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One of the organizations’ fundamental issues is supply chain network design. Optimization of this network can lead to effective management of the whole supply chain. Network design specifies the position, capacity, number and type of network facilities, and transportation network of materials and products from the supplier to the customer and vice versa. This research proposes new solution procedure based on Multi-objective Genetic Algorithm (MOGA) and Non-dominated Sorting Genetic algorithm-II (NSGAII) to find the set of Pareto optimal solutions that empowers the decision-makers by alternative solutions. Considering that in this study the level of service is very important, so this modeling was based on satisfying all customer demands. Objectives for network optimization are minimization of total cost and maximization of capacity utilization balance for network facilities that lead to the reduction of customers’ service time (increase service levels). Nine problems were designed from small to large. In order to compare the quality of the obtained Pareto solutions of both algorithms, seven criteria (for multi-objective problems) were used in this study. The results indicated that the solutions produced by NSGAII algorithm have higher quality.

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One of the motives of the love poems is "Death of Lovers". In these texts, the poet uses his art to describe the death of the hero as a memorable event. This descriptive-analytical study answers the questions of how the basis of the death of lovers in Persian love poems can be classified and what role does each of its subspecies play in the narration of the story? For this purpose, the book "One Hundred Persian Love Poems" (Zolfaghari, 1394) was the basis of the work and it was concluded that three types of death (natural, suicide and murder) with subtypes and causes, have occurred for lovers.

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Similar to classic literature, there are several different literary genres in folk literature. Some of these genres belong only to folk literature, this is while others belong to both folk and classical literatures. It is an essential task to identify each one of these genres. Salavāt-khāni is one of the folk poetries which intend to recall the sanctity of the saints on different occasions by inviting the audience to salute the saints at certain moments. Poems of this type are usually classified according to the occasions they are being used. For instance, they are known as worksong, chavoshi, or sahari-khani, this is while each one of these examples belongs to a different genre. Consequently, the goal of this paper is to investigate the characteristics of Salavāt-khāni. To this end, generic studies are used to study the internal and external features, such as structure, content, mode, function, and the specific interaction between the orator and the audience. There are only a few cases of Salavāt-khāni which are recorded in manuscripts. However, these limited cases are enough to prove Salavāt-khāni as an autonomous literary genre according to its unique structure.