Introduction & Background: From 1381 10 1384 " Iranian calendar" using MRI 0/5 and 1.5 steals we have done shoulder MR Arthrograms with diluted gadolinium "1/200 dosage in 9cc of a solution". In cases of non diluted GD we have done also CT Ar-throgram "air-dye double contrast", because GD is heavier compared with iodine, "medallion cross board" dilated GD is used without air. Patients & Methods: We used T1, T2, and fat saturation pulses. T1 was a special protocol in coronal and axial views; 1/200 dilated GD is used and has been injected into joint space under CT guidance. Results: Thirty-two patients attended our investigation, 4 women and 28 men. Two cases of R.C. tearing, 2 cases of capsular tearing, 4 cases of labial detach-mints, 2 cases of small globoid, 2 cases of impinge-mint syndrome with no R.C. tearing and 20 cases were normal. We have done 45 patients with double contrast CT pneumogrpahy parallel to MR “Arturo-grams Conclusion: The impression is MR-Arteriogram in T1 looks like a joint with effusion in T2 images. Ortho-medic vision depends on his clinical findings and his interest for imaging. If you use undiluted GD sig-nevoid joint looks like pneumoarthrogram in CT scan "signal voided". And we have found MRI is superior to CT in R.C. tearing but CT is better than MRI in labial lesion. MR- Arteriogram results are best because we have studied all anatomy by conventional MRI beside orthography . 

The polite listener In England stares at the speaker attentively and blinks his eyes occasionally as a sign of interest. That eye-blink says nothing to Americans, who expect the listener to nod or to murmur something such as "mm - hmm”. And in some parts of  Far East, it is impolite to look at the other person at all during conversation.It is often argued that, in teaching foreign Languages, culture and Language are interwoven in a way that it is not possible to present Language without its culture. However, until a new method of teaching Language, called communicative approach, which is sociolinguistically oriented, had not come into existence, this belief was not used to be observed in textbooks and Language classes. This method intends to create situations in the classroom in which foreign Language can be used as naturally and authentically as the native speakers of target Language use it for communicative purposes.The problem of teaching culture, nevertheless, does not end here. Nowadays, foreign Languages are taught with different and varied objectives. Is it necessary for all foreign Language learners to get familiar with the culture of foreign Language they are supposed to learn? As Schumann (1984) claims, is it true that second Language learning is impossible, unless one gives up his/her own native culture and adopts the culture of foreign Language community? What are some relevant issues regarding teaching English in Iran? These are actually some basic questions raised in this article. Whereas definite answers are not necessarily provided in this paper, some areas of research related to culture, and teaching foreign Language are put forward.

The Iranian Academy of Persian Language and literature finally published it proposal on Persian orthography in Esfand 1378 (March 2000). After six years of discussion and research, and carrying out a public opinion poll even though the proposed orthography has a more moderate style than itspreviously drafted version and the existing letter styles in use, it is still vague and inconsistent and has deficiencies and mistakes which totally amount to sixty instances. The mistakes of the published proposal, in the chapter "the Characteristics of Persian orthography", mostly concern the descriptions which have been inadequately expressed. The most important mistake in the chapter titled" orthography Signs" is the order of the letters of Persian alphabet where the Hamzeh (the Arabic "consonant alef) precedes alef and the letter "a". The mistakes of the chapter titled "the Spelling of Some Words, Suffixes and Prefixes" include the inconsistency of rules and their ambiguity in describing all similar instances of application. The mistakes in the chapter about subject pronouns (in the Persian Language these are the suffixes-m, -y, -yam (or-yim), -yad and -nad which are attached to the verb) concern the mixing of the rules of the verb "ast" (present tense of the verb to be ") with the otherfive subject pronouns attached to the verb. The mistakes in the two chapters "Possessive Pronouns and Object Pronouns" and "The Indefinite Article, Infinitive Article and Relative Article" (all of which is represented by the suffix" -ya " in the Persian Language) consist of deficiencies in applying grammatical rules. The mistakes in the chapter titled "the Usage of Hamzeh (the Arabic "consonant alef) mostly include inconsistencies in presenting the rules, expressing numerous rules and exceeding the standards of the prevailing style of Persian orthography. The mistakes of the chapter titled "the Terminology, Syntax and Expressions Derived from the Arabic Language" mostly consist of incomplete rules. The chapter "Compound Words" is the chapter in which the Academy has made the greatest number of orthographic mistakes. The most important mistake is that the scientific logic of orthography and the Persian Language have not been observed and this has resulted in much in consistency. Besides the instances mentioned above there are many other disputable points in Persian orthography which have not been made clear in this orthography proposal on Persian.

Introduction & Background: Pain and tenderness are common in the palmer and lunar aspects of the wrist in the area of the misinform bone. When chronic, this pain may be due to a tendinopathy at the insertion site of the lunar flexor tendon, carpal fractures, or osteoarthritis of the pisotriquetral joint (PTJ). The PTJ is the second most common site of osteoarthritis in wrist after the scaphotrapezial joint, if the first carp metacarpal joint is excluded. Instability of the PTJ is a recognized complication of osteoarthritis of this joint. Degenerative changes of the PTJ often re-main undiagnosed at clinical and radiographic evaluations. Although they are not usually per-formed, several methods for PTJ imaging have been proposed. A profile view can be obtained when the hands are placed in 300 degrees of suspiration, allow-in evaluation of the joint and adjacent bone. Arthro-graphy of the PTJ has also been used alone or in com-inaction with radio carpal joint orthography to evaluate intra-particular abnormalities of the PTJ. Computed tomography (CT) and CT-orthography allow more precise visualization of this joint. These imaging methods offer more thorough analysis of the articulation but are limited because of their lack of soft-tissue contrast. A potential role of magnetic resonance (MR) imaging in the assessment of abnormalities of the PTJ has been explored in a few investigations, although to our knowledge no report exists that details the possible role of MR-orthography in the evaluation of the PTJ. The purpose of our study was to evaluate the MR imp-aging and MR orthographic findings of the PTJ and the contribution of these examinations to the assess-men of osteoarthritis of this joint. 

Given that television is one of the most influential media that uses written Language in various TV programs, like advertisements and subtitles, it can be considered as one of the best tools for expanding and teaching the orthography approved by Persian Academy of Language and Literature. In this regard, the present study addresses the representation of Persian orthography in the national media and its compliance with the guidelines approved by the Academy. In this research, an extension of TOPSIS method has been used in the framework of Multiple Attribute Decision Making. To this aim, orthographic content of seven IRIB TV channels namely, One, Two, Three, Four, iFilm, Tamasha and News were analyzed. Then, the compliance rate of each was verified by the “Guidelines on Persian orthography” approved by the Academy and the channels were ranked by linear assessment method. Findings indicate that none of the seven channels are fully compliant with the guidelines.

The problem of Persian orthography has long been a much-debated subject and various proposals have been put forth for its modification or change. Today by the increase in the number of educated people and the expansion of the writing realm as well as technological advances and the advent of computer and internet, the urgent need for establishing and presenting precise general rules for Persian orthography is felt more than ever.In order to present a picture of the activities carried out on the modification or change of the Persian orthography, especially the measures taken by the Academy of the Persian Language and Literature as the sole official executive organization, first a short history of Persian orthography (modification and change) will be presented. Then the achievements of the three Iranian Academies will be introduced and eventually the viewpoints of some experts on a few Persian grammatical morphemes will be presented supplemented with the author's suggestions.

Poetry is a lingual art that utilizes both description and music. In the course of translation, One of these two features of poetry is generally favored over the other with focus on conveying the meaning and poetical imagery of the poem. Efim Etkind, Soviet linguist and translation theorist points out different forms of translation and demonstrates that any endeavor in translation of poetry is restricted to these six described forms. What makes him to remain critical is that, in his opinion, the generality of the poem is nonetheless lost using any of these described methods. In this following article we suggest a way to make it more possible to convey the music of poem, which we assume is the important lost feature, through phonetic transfer from the source Language to the orthography of the target Language. We think conveying the phonetic of the poem would make the Persian speaking readers of French poetry more familiar with the musical property of the French Language poetry and thus not only giving the Persian reader a semantic attraction of the poetical work but also an impression of the poem’ s music, pronunciation and rhythm which is an inseparable part of this lingual art.

From among the Arabic alphabet, hamza is the only vowel with four orthographic variations of ء (alone), ؤ (above a waw), أ (above and under an 'alif) and ئ (above a dotless ya). Such an orthographic variation for hamza has caused spelling problems for writers mainly those who write in both Arabic and Persian.The present article is to reach the following objectives:1. Introducing the right orthography of hamza in the Arabic and Persian Languages with reference to the authoritative books on the Arabic and Persian morphology and syntax together with rules of orthography which rely on the current orthographic methods employed by the competent writers;2. Compiling hamza rules which are comprehensive yet easy to learn;3. Clarifying the points of orthographic similarity and differences in the Arabic and Persian Languages for those writing in both Languages.