In the modern era and through ABSTRACTion, ART turns to a path in which the beginning and end of an ARTwork get closer together than in any other era in an attempt to make the minimum space between the subject and the object, or the work and viewer so that the work is created while receiving the minimum influence from the external world and maximum closeness to the very essence of ABSTRACTion and ARTist’s mental and personal picture in mind. In order to omit as much as external influence as possible, the modern ARTist tries to omit verbal and narrative elements from his work which in the end forms the main basis of ABSTRACT creation. Therefore, it seems that in the period dominated by the linguistics and comparative literature, the path of visual representation tends to an anti-narrative creation in which the painting turns to silence and the ABSTRACT ART in pARTicular is inclined to a kind of visual language of forms trying to erect a wall between visual and verbal elements. The decision of ABSTRACT ART in making a silent work and bringing the representation to an exclusive visual territory as well as the ARTist’s obsession with eliminating the verbal and literal elements from ART, is itself a manifesto of this tendency in ART. But, the main paradox here is that the modern ARTist, more than any other era, is affiliated to and dependent upon the modern ideologies as well as the literal and linguistic theories governing the period and this is contrary to the objective of narrative elimination and creation of a pure ABSTRACT ART. In the present research, after analyzing the process of elimination of narrative elements and natural comparison from visual representation and the change in relation of representation and truth, the elimination will be visually explained in selected works of ABSTRACT painting ART based on which one could claim that in an attempt to eliminate narration, the ABSTRACT ART completely outcasts the very act of ART creation and tries to make a minimum or no communication between the work and the viewer in favor of making a silent ART which unfortunately resulted in ABSTRACT ART becoming a mere bourgeois style. The ABSTRACT ARTist’s main goal is to create an independent “text” capable of justifying its existence on its own and free from any external influence other than those raised from the ARTist’s mental and personal experiences. On another side, the undeniable reliance upon the modern ideologies and the governing literal and linguistic theories is in complete contradiction with this claim. In the modern era, despite of the claim for creating pure ABSTRACT ART, ARTists are more prone to the governing literary and linguistic theories which makes creation of a pure ART almost impossible. The results of this research show that at the culmination of ABSTRACTion and narrative elimination, ABSTRACT ART somehow exits the cycle of representation and turns to existence; an existence which cannot be included under any definition including the definition of representation itself.

As far as early 20th century; the powerful presence of figurative, representational painting Was felt throughout the history of ART. But non-figurative ARTs, more often than not, appeared in applied, and decorative aspects of ART. In early 20th century, avoiding to depict objective, real world, the European painter removed the recognizable objects and elements, and known forms within the objective and visual world from his painted scenes, and tended to reflect his own inner world. His reorientation from the' outside world to the human inside, from representing objects to depicting forms, was considered to be the advent of the evolution of the, modern ARTistic expression, and the gradual appearance of the non-figurative, or in a sense ABSTRACT, painting. Painting was no longer the only single means of representing the visual world. Representational reflection of richly pure, colorful forms could provide the painter with devices to visualize internal echoes of thing, and their reverberations in the human spirit. In this period, the painter was convinced that if the pure, figurative harmonies were devoid of objective or metaphoric pictures.  they could be exciting - just as pure sounds of music could be. Ignoring natural pictures altogether, the painter surrended himself to the hands of the representational power of colorful forms.  This paper, referring to the context of the development of the ABSTRACT ART, zero on in the initiators, and the major trends that developed in this ART.

The application of ABSTRACT Meaning Representation (AMR) is widely increasing as a principal form of structured sentence semantics, and it is considered as a turning point for Natural Language Processing (NLP) research. AMRs are rooted and labeled graphs, which capture semantics on sentence level and ABSTRACT away from Morpho-Syntactic properties. The nodes of the graph represent meaning concepts, and the edge labels show relationships between them. In this paper, we give a brief review about the existing approaches of generating text from AMR and parsing input text to produce AMR by studying various research from 2013 to 2022. Besides, we explain how the researchers have been used AMR for prevalent NLP tasks. Afterwards, we describe the existing datasets and evaluation metrics, which can be used in this regard. Finally, we discuss some basic features and challenges of AMR.

Iconology as an approach- method in ART history Studies which has had a long history and in Iran has always been the center of attention and many books and ARTicles have been compiled about this method. The studies in which this method is used, the studied works has had historical record. In spite of using this method in modern ART, it has never been used in interpretation of an works of ART. Using Iconology in mere interpretation of a historical work paved the way to utilize it in ART. In fact, the objective of this feasibility Study is the possibility of using the method of Iconology in interpretation of the Visual works. The hypothesis of this research is that whether the method of iconology wants recognition of meaning in front of form. In interpretation of the works (regarding the multiplicity of meanings and relativity of the meaning) is that a practical method or not. According to the hypothesis, iconology is on the basis of the meaning and this meaning in the relative world of ART is inaccessible fundamentally multiple, and relative. The method of collecting informations is library method and the method of this researchis analytical-historical. The finding of this research is that understanding the primary and immediate meaning in ABSTRACT nonrepresentational ART is not feasible, because Iconology seems a deficient method for interpretation of works of ART according to its bases that is a method attends to Content versus of Form. There is no Image in many of works of ART and those contain some line and color spots that shape nothing. In many works of ART, the visual elements have no symbolic modes because they are nonrepresentational and there is no icon or symbol in them and iconology emphasizes on symbolic values. Then about the nonrepresentational works of ART, iconology is ceased in the first step. In ABSTRACT works which carry image is not possible to get access to a unified meaning through the form and the recognized identity does not reconcile with essence and nature of the work because one of the structures of the ART is multiplicity of meanings in a single form. According to attitudes to relative ideas in science, philosophy and ART across the modern world, it seems no way to finding the meaning of works of ART. In many of ARTworks the meaning that the ARTist wants to say, is not the meaning that the viewer recognizes and there are many differences between the intention of ARTist and perception of viewer. Many of works of ART no represent any thing of the nature, then the viewers cannot recognize any thing in the work of ART that exists in the nature environs them. Consequently, it should be said that iconology is applicable on the representational works of ART works that taking their identity from the texts, oral culture, and generally from the nature, not for the ART which has a relative identity.

The ABSTRACT is often the first text that people read before stARTing to read the entire ARTicle. Therefore, a great effort and attention should be paid in writing it. Since summarizing an ARTicle in a few sentences is difficult and requires professional skills, we aimed to address the importance and impact of an ABSTRACT and its function and types, and provide a practical guide to writing an effective and accessible scientific ABSTRACT.

Gender Differences Arise From The Interaction Between Gender Physics And The Economic And Social Aspects Of Societies. This Approach Leads To The Emergence Of Characteristics Unique To Each Sex, Psychologically And Physically, And Ultimately The Acceptance Of These Characteristics By The Sexes Themselves, Societies And Cultures, Stereotypes And Gender Axioms. They Bring. Adopting These Stereotypes, Gender Patterns As A Background Affect All Relationships, Behaviors, And Social And Cultural Norms Of The Sexes. Behavioral Stereotypes That Always Exist In Evaluating The Performance Of Men And Women In Society Are The Differences Between The Way Of Thinking Of These Two Sexes And The Attribution Of Rational Behavior To Male Gender And Emotional Behavior To Female Gender. In ART, The Difference Between These Two Ways Of Thinking Is Reflected In ABSTRACT And Realistic Works. Based On These Two Dimensions Of Mental Stereotypes In Society, It Seems That More ABSTRACT And Geometric Works Are Considered Masculine And Realistic Works That Express A Kind Of Feeling Are Considered More Feminine. While Men And Women Do Not Differ Much In Terms Of Orientation Towards Different ARTs And Also The Degree Of Success In Achieving Their Goals In ART. Based On This Assumption, In Addition To The Existence Of Various Styles And ARTistic Tendencies, The Main Core Of The Present Study Is The Study Of Works With Realistic Style And ABSTRACT Works To Help Achieve This Category Of Whether Gender Stereotypes In Attribution Is A Work Of ART Effective For A Man Or A Woman? The Present Research Method Is Of Survey And Field Type And Has Been Done By Relying On Experimental Methods And Quantitative Method As Well As Studying And Reviewing Scientific Documents. In Order To Measure The Research Hypothesis (Gender And Social Maps Affect The Attribution Of Works Of ART To Men And Women), The Scale Of Speculation Of The Gender Of The Creator Of The Work Was Used. Findings Show That In The Application Of A Work Of ART To A PARTicular Genre, It Is Influenced By The Audience, Stereotypes Or Gender Ideas, As Well As Gender Roles. For Example, The Adaptation Of The External Space To Men And The Internal Space To Women Is Due Same Mental Stereotypes In Assigning Social Roles To Gender. In Other Words, Audience Of The Work, By Default, Imagines Women In The Home And Indoor Environment, Which Depends On The Descriptive And Obligatory Aspects Of Gender Roles That Are Accepted Among Some Cultures And Societies That Women Are Involved In Housework And Affairs. They Are Closely Related To Breeding. Another Common Attitude In Judging Gender Is Color. PARTicipants Attributed Most Of The Works With Limited Color Spectrum To Men, As Opposed To Those With A Wide Range Of Colors And Red, Pink, And Orange. This Stereotypical Behavior Towards Men And Women Can Be The Result Of Accepting Superficial Differences Between The Sexes; Basically, Men Recognize A Limited Range Of Colors, While Women Tend To Be Pink, Red, And Orange, And Have A High Degree Of Color Recognition.

Problem statement: Islamic philosophy and ART theoreticians, such as Burckhardt, considered Islamic ART as ABSTRACT since it presents divine mysteries in Eastern ART through symbolization. Hence, traditional ART is sacred ART with an ABSTRACT model of expression that avoids figurative and naturalistic representation. On the other hand, in Europe during the 20th century, Kandinsky stARTed a movement in the visual ARTs to discover the visual features beyond the visual-narrative realm of the real world. They believed that painting, like music, should set itself free from the boundaries of mimesis or imitation of nature and narratives and influence its audience merely through forms and colors. Both of these attitudes have their theoretical foundations and reasons that are different from each other. The present study seeks to answer the following questions: What is the meaning, function, and characteristics of the word “ ABSTRACTion” in both the abovementioned perspectives? What are the concepts of traditionalists and Western ART critics from the term “ ABSTRACTion” and how are they related to each other? Research method: This basic research used a descriptive-analytical method and first attempted to find the exact meaning of the word “ ABSTRACTion” . Afterward, it examined and compared the characteristics of Islamic ART from the traditionalist thinkers’ points of view and the concept of “ ABSTRACTion” in Western ARTists’ opinions. Research objective: This study discusses ART and stylistics in the theoretical field of ART research and can be effective in the development of discussions on “ the nature of ART” . Conclusion: There are similarities and differences in the use of the word “ ABSTRACTion” in Islamic and Western ART. In both of them, the ARTist and the audience are detached from the material and objective world. Both of these perspectives try to present something beyond what is visible and for this reason, the ARTists try to employ mysteries and symbols to present their ARTworks.