Brick is the most widely used construction material. Demolition of buildings and production of construction waste, including clay brick, are dramatically increasing in an alarming rate. The production of traditional bricks such as clay bricks has hazardous impacts on the environment, such as pollution and extensive use of natural resources. This study addressed the application of the geo-polymerization process as an environmental and sustainable method to produce new bricks from clay brick waste and different types of fillers. Accordingly, the powder and grains of clay brick waste, dune sand, washed sand, industrial sodium hydroxide, and water glass were utilized to prepare cubic and brick-shaped geopolymer samples with different mix designs and then cured at 70 °C. The samples' compressive strength, water absorption and SEM analysis were examined. According to the results, the highest compressive strength for cubic mortar samples was obtained in the case without filler; for these samples, with mass ratios of water glass to sodium hydroxide solution equal to 1 and 2, compressive strength was 18.45 and 22.15 MPa, respectively. In the brick samples, the highest compressive strength was obtained in the 28-day and 8 M geopolymer samples, which was equal to 25.38 MPa. On the other hand, the geopolymer samples made by sand filler had higher compressive strength and lower water absorption in comparison to other samples. Therefore, sustainable production of geopolymer bricks from clay brick waste and inexpensive materials as the filler can be a step toward mitigating the environmental impact of construction and demolition waste.

This study was conducted during summer and winter of 2018- 2019 in the agricultural research field of Shahid Chamran University. Experimental design was split- plot based on RCBD with three replications. The main plot was the type of agricultural system in three levels including conventional (Conv), organic (Org) and sustainable (Sust) (integrated between Conv and Org) and sup- plot was the type of pre- cultivated crop in sequence with wheat including cultivation of mung bean (M- W), corn (C- W), sesame (S- W) and fallow (F- W). Yield quantity (yield and its component) and quality (grain protein), an estimate of photosynthesis matter transfer index of wheat and soil organic carbon (SOC) after one double-cropping were measured. The result showed that the highest (545.04 g/m2) and the lowest (409.28 g/m2) seed yields were obtained in Conv and Org respectively. In contract, with the changing type of system from Conv to Org, grain protein was increased significantly (from 8.3 to 9.6 %). In addition, the highest (535.47 g/m2) yield of wheat was obtained from M- W double cropping. On the other hands the highest remobilization and current photosynthesis matter were obtained in the organic agricultural system with M- W and conventional with M- W double cropping. The situation of SOC showed that the highest (33.18 mg/g) SOC was obtained in the organic agricultural system with C- W double cropping. The reason for improving SOC in the organic and sustainable agricultural system was application of organic matter (compost and vermicompost) and crop residue management. Totally, from the crop ecology point of view, sustainable agricultural method with a sequence of M- W was the most desirable system.

The present essay investigates into stylistic analysis on two lingual and rhetorical aspects of compositions in Nezami’s verse based on his work under title of “Leyli and Majnoon Couplets”. Concerning to the first subject, we will explain about techniques of developing grammatical compositions and the nature of their normality or abnormality while for the latter theme, we will talk about rhetorical and aesthetic aspects of those compositions. Similarly, we will refer to this point that the given poet has been suffering from inconvenience and several weaknesses in the building process of compositions and development of normal compositions in Persian language. It seems that stylistic characteristic in some techniques of lingual developing of compositions signifies the poet’s bilingual nature and being far from the central field of Persian language.

1. Introduction One of the important customs among Lak people is mourning. Mourning and lamentation for a dead person is called "Pers" by Lak speakers. "Pers" includes special ceremonies among some Lak tribes which is called Chamar. This brilliant mythological custom by both individual and group function has special principles to reverence the deceased. Deeply researching Chamar custom paleonologically and decoding it as an interpretative content indicates valuable manifestations of ancient culture of Iranian ethnics. 2. Methodology Generally, the method of this study is a combination of library-based and observation research. In this case study, the analytical-descriptive, structuralist and sometimes comparative methodology is applied. And qualitative method is used to show the importance, function and symbolic meaning of manifestations and elements of mysterious demonstrative ceremony, Chamar, welcoming ritual and also the death dance among Lak nations. One of the authors of this paper himself (Ahmad Kanjouri) is a native Lak speaker of Delfan town (Itivand or Ivatvand Tribe) who has participated to hold this mourning ceremony specially for the death of their beloved and relatives. 3. Discussion 3. 1 Artistic dimensions The term "Mour" is a very important manifestation in Laki language which is one the most ancient songs. "Mour" is performed in different tunes to sorrow, praise and describe the ethical and social characters of the dead people in a painful and sorrowful way. The tone of "Mour" gives a doleful magnificence to Chamar place when men and women are singing it. According to different situations, Sorna (horn) players and drummers-sometimes just the Sorna player-perform different tones harmonically. Lak nations have performed the death dance (Rara) up to recent years. Not so long ago in NoorAbad Lorestan when an influential man died, men and women didn't use to cry but used to dance with the tones of Sorna and drum (Asadian, 1978: 8). A lot of men participating in Chamar ceremony hold eachothers' hands, in a circular way and dance with very slow movements. They dance coordinately with Sorna and drum and beat their breasts with their right hand simultaneously. 3. 2 Literary dimensions of Elegies (Kalimas) In Chamar ceremony men and women who have melodious voices sing some laments. These laments are the literature of "Mour". Laki laments are generally ten-syllabic single verses which are called "Kalima". These single verses are mainly epic and lyric. They have been transferred orally to the present generation. If someone valiant and commander died, this would be a sample of proportionate Kalima: /ki diye sardâ, r wež,beč, u va jang/ کی دیه سَردار وِژ بِ چو و جَنگ /tarsem bekoš, ni sepâ,buti lang/ تَرسِم بِکوشنی سِ پا بوتی لَنگ No one has seen a commander himself do the battle with enemy I am afraid of him being killed and his army getting disappointed 3. 3. Mythological and ceremonial dimensions of Chamar The ancient and historical ritual of welcoming has been a public or private ceremony being held by decorating the place and generally playing horn and drum and other kinds of musical instruments. The ritual of welcoming and its related aspects is still being held by some of tribes for the mourning of their dead and beloved family members especially in Delfan town. Usually seven Sorna (horn) players and seven drummers wearing native and local cloths stay side by side and shoulder to shoulder at the entrance of Chamar place. When any group of participants arrive, they play tunes of Chamar. In Chamar in order to be more impressive, demonstrative elements, lyrics, music and creating special atmosphere are applied,which are very similar to Siavash mourning. The dance of Rara, which is very slow and sorrowful, is performed leftward. This inversion and reversal which is the mystery of death, is also represented in Shahnameh for the mourning of several different characters. By comparing and studying the death dance among different nations, it could be said that these dances are customs of passage. It is an experience for spirit which strengthens and guides it to the narrow invisible road to achieve eternity. 4. Conclusion Chamar mourning is a mythological, mysterious and symbolic custom and an alligation of expressions and gestures, demonstrative manifestation, dance, taboos, music and lamentation which is performed for the death of the loved ones among Lak nation from long time ago. The results of this study indicate that Chamar is a kind of passing ceremonies to return to balance and accommodation with the new doleful situation. In this ceremony, in order to be more impressive, demonstrative elements, mourning cloths through creating atmosphere and music are applied being very similar to Siavash mourning (Siavashan). Comparatively studying the accepting and meeting customs and death dance of Lak people with the myths (history-stories) of ShahNameh and also with other nations shows historicity, oldness, and mysteriousness of this ceremony. The dance of "Rara" is a demonstrative custom to banish the duality of life, alliance with the eternal and obtain the initial unity again. It is also an eagerly experience, worship and a communal demonstration to strengthen and guide the spirit of deceased to the narrow invisible road to achieve eternity.

Purpose: Protection of material rights requires that any use of work is considered impossible if the copyright holder is not Satisfied. Sometimes, for reasons such as public interest will the use of work is permitted without the necessary consent of the author. This paper aims to discuss the important role of libraries in information dissemination with regards to legal systems and attempts to present a different perspective about the possibility of copying the works.Methodology: This paper uses a descriptive, analytical and comparative approach to legal systems including USA, France and Iran.Findings/Results: Analysis and interpretation of relevant legislation indicated that copying by libraries is one of the exceptions to the copyright law, but there are differences in the scope of permissible copying by libraries. Legislators in some countries such as U.S. have allowed all three types of copying: request by users, preservation and replacement and inter- library loan; While provisions in some countries (such as France) has allowed copying for request by users and preservation and replacement and some countries have accepted only copying for request by users. It seems that Iran is in the third place. Therefore, providing better services by the library requires that copying for preservation and placement and inter-library loan are clearly stated in the rules.

In this study, weather conditions such as air humidity, temperature air, and wind speed were investigated in relation to wind turbine efficiency with the approach of an exergy study. In this study, the wind speed has been investigated in two different climatic regions of Iran with an approximate distance of 1200 km, in the names of Ardabil and Marvast. The amount of wind density of Ardabil is equal to 66 (kW/m2) and Marvast is equal to 123 (kW/m2). Power production using a 10 (Kw) wind turbine in the Ardabil region is 2.3 (MWh) and in the Marvast region is 3.2 (MWh) per year. The highest wind turbine exergy efficiency is 0.48 in the Ardabil region, and the highest exergy efficiency in the Marvast region is 0.18. The amount of reduction of CO2 gas production, using wind turbines in comparison to gas and diesel power plants in Ardabil, are 1.1 and 2.1 tons and in Marvast are 1.5 and 2.9 tons per year. This reduction in CO2 greenhouse gas per year is equal to using a forest region of 1000 (m2) to 3000 (m2). The use of wind turbines reduces the fuel consumption of diesel power plants in the Ardabil region for the amount of 797.4 liters and in the Marvast region for the amount of 1244 liters of diesel per year. According to this review, it can be concluded that in addition to wind speed, air humidity plays a significant role in the selection, installation, and commissioning of wind turbines in the region. According to this survey, it can be seen that in the Ardabil region, the wind speed of the wind turbine has a higher exergy efficiency than in the Marvast region, and it can be concluded that the wind turbine has performed better in the Ardabil region.

In accordance with the Law on Protection of Rights of Authors، Composers and artists، Act of 1348، protection of literary and artistic Work and identification of author ownership right، starts after publishing. From this time onward these rights can be transferred through succession or testament. However، Article 65 of the Civil Law Enforcement، Act of 1365; allow the successors of the author to publish the unpublished work of their testator after his death and benefit the 50 years support. In other words، a literary and artistic work can create two materials right: One، after publishing till the author’ s death، which is profitable for the successors until 50 years after his death، the other is the right provided after publishing the work by the successors and after author’ s death. This creates an unreasonable result، First، ''unpublished (by the Author) works can be protected by law (whit publishing by the successors)''، and second، "The decision to publish the work، one of the moral rights، can also be inherited''!

In contemporary intellectual property law, literary and artistic property rights extend beyond mere movies or literary works to encompass the fictional characters integral to these creative endeavors. This legal support not only serves to inspire creators but also to safeguard their imaginative achievements. Among these creations, fictional characters hold a profound influence over our daily lives and entertainment pursuits, spanning various media such as movies, books, and computer programs. Iconic figures like Sherlock Holmes, Batman, and Superman exemplify the significant fictional characters that have received such protection. Given the vast diversity of fictional characters, it becomes imperative to secure the rights of their creators, thereby fostering the necessary motivation for their ongoing creativity. Consequently, the principal objective of this article is to delve into the mechanisms by which fictional characters are safeguarded within the framework of literary and artistic property rights. Specifically, the article seeks to address whether it is feasible to independently protect these characters within this legal structure.To achieve this goal, a descriptive-analytical methodology is employed, drawing upon court jurisprudence, particularly in the United States, to elucidate the legal underpinnings and delineate the elements, possibilities, and criteria for protecting fictional characters. Central to this examination are discussions on the concept of fictional characters, methodologies for protection, criteria for identifying infringements, proprietary rights, and protected elements. Moreover, it is important to note that data collection for this article follows a documentary and library-based approach. Utilizing the library method, a cornerstone of scientific research, ensures a comprehensive exploration of existing literature and resources. Through this methodological framework, data is systematically gathered and analyzed using a descriptive-analytical lens. The article concludes that fictional characters can indeed be independently supported, distinct from the larger artistic work. These characters are defined as "abstractions eliciting a response in the mind of the reader or viewer through written or spoken words." Consequently, certain guiding principles must be observed in supporting fictional characters, notably the principle of " idea-expression dichotomy." In the realm of works in in Literary and Artistic Property Law System, protection extends to the tangible expression of the work, rather than the underlying ideas. The work is defined as "the expression of creative and original literary and artistic thoughts of the creator that has been established in the outside world." Additionally, authenticity and fixation conditions are pivotal for support, ensuring the character's origin from the creator and its objective manifestation. Further examination focuses on tests designed to assess potential violations of fictional character rights, such as the " Distinct Delineation Test," the " Story being told test,” And the "three-part test." These tests evaluate elements such as physical appearance, identity, evolution, and narrative significance. Ultimately, an analysis of relevant cases demonstrates that courts recognize the possibility of independently protecting fictional characters, provided they exhibit originality and developed expression. The application of such tests within judicial procedures serves to bolster creator motivation, stimulate creative endeavors, and attract investment in cultural and artistic domains, alongside other cultural and social pursuits

Hadiss are considered as major principles in the recognition of Islam and the acquisition of epistemology. The present essay discusses the literary and artistic methods, and techniques used in Hadiss. Utilizing an artistic and literary language is among the special characteristics in the forming the structure of Hadiss. In the artistic and literary manifestations of Hadiss numerous dimensions are mentioned; among which music, image and structure are known as the tools and elements used. The existence of such elements in Hadiss has led to the formation of both artistic and literary aspects within these words; mainly Prophet Mohammad’s words of advice; while one can point to the harmony and coordination, pun, cohesion, coherence, arithmetic conjunction, and phonetic system in Hadiss; as these factors form the overall structure and music of these words. Another major element in the formation of the artistic and literary form of Hadiss, is using image for enriching the mentioned concepts in their text. The present paper points to the above tools and elements in theoretical literature, following it a number of Hadiss are surveyed as examples.

When Sufism created as a known social institution, its proper language and semiotic system were also created, thus a special jargon with its own connotations, nonsense to those unfamiliar was revealed. Sufis having personal pure experience, have their own imaginations and personal interpretations in literature and their uniqueness and creativity can easily be recognized through their innovative images, while the imitator Sufis who merely gets acquainted with Sufism via reading the progenitors’ works and the common symbolic images in the Sufism literature, stuck in their minds, therefore the color and smell of individuality cannot be found in their produced poetry and speeches since they take advantage of public images and interpretations. In this paper, however, in addition to discovering the artistic manifestations in Riyadh Al-Aryfyn, we provide readers, as much as possible, the illusionistic images and the created aesthetic issues so as to introduce them, to some extent, their inner and outer side experiences and the world. After Sufism was created as a known social institution, its proper language and semiotic system were also created, thus a special jargon with its own connotations, nonsense to those unfamiliar was revealed. Sufis having personal pure experience, have their own imaginations and personal interpretations in literature and their uniqueness and creativity can easily be recognized through their innovative images, while the imitator Sufis who merely gets acquainted with Sufism via reading the progenitors’ works and the common symbolic images in the Sufism literature, stuck in their minds, therefore the color and smell of individuality cannot be found in their produced poetry and speeches since they take advantage of public images and interpretations. In this paper, however, in addition to discovering the artistic manifestations in Riyadh Al-Aryfyn, we provide readers, as much as possible, the illusionistic images and the created aesthetic issues so as to introduce them, to some extent, their inner and outer side experiences and the world.