This study investigates the origins of rural drama in Iran and presents a comparative study with pastoral drama. Pastoral drama is a subgenre of rural drama. In Pastoral drama, the emphasis is on dramatic effects such as spectacle, music, and sentimental characters. The focus of rural drama is on the social and human aspects which often could be found in rural sociological studies. This kind of approach in western drama is very modern and new. Its origin goes back to 1850s with Turgenev's A Month in Country, a movement which was followed by Chekhov's Uncle Vaniya and three other plays, namely The Cherry Orchard, Three sisters, and The Seagull. All the events of these plays happen in Russian rural atmosphere depicting the change in the life and everyday experiences of rural people. Among the four plays of Chekhov Uncle Vaniya is a unique rural drama that later becomes a model for other playwrightsall around the world especially Iranian playwright, Akbar Radi. Radiunder the influence of Chekhov's rural drama has written two rural Iranian plays, namely Marg dar payiz [death in autumn] and Dar meh bekhan [sing in fog]. These plays represent the most fascinating aspects of Iranian rural life. This experience also has influenced other branches of art such as poetry, fiction, and cinema. The process resulted in the improvement of the Iranian humanistic drama.

Background and purpose: Spirituality is a complex and multidimensional concept that has cognitive, experiential, and behavioral aspects. According to studies many patients believe that religion and spirituality play important roles in their lives. Usually they expect such considerations to be taken into account by physicians. The aim of this study was to investigate the viewpoints of physicians about spirituality and spiritual care.Materials and methods: A cross-sectional study was performed in 318 physicians working in hospitals affiliated with Qom University of Medical Sciences in 2013. Data was collected by a questionnaire consisting of demographic information and measures of spirituality and spiritual care. The validity and reliability of these scales were previously approved.Results: The mean age of the physicians was 41.51±8.89 years and the majority were married (83%). Amongst the participants 73% were male and 82.7% were general practitioners. The perception of spirituality and spiritual care was desirable in 2.35%, highly satisfactory in 10.1%, and lower than average in 54.7% of the cases. The viewpoints of physicians towards spirituality was significantly correlated with spiritual care (P<0.05).Conclusion: Based on these findings, doctors’ attitudes towards spirituality and pastoral care was undesirable. Pastoral care trainings are recommended for young physicians and those with lack of experience.

Drought phenomenon stands as one of the most significant challenges of the contemporary era, exerting its influence on all ecosystems, including rangelands, at both global and regional scales. The heightened vulnerability of pastoralists underscores the necessity of embracing the concept of resilience. This research aims to investigate existing studies on the resilience of pastoralists under drought conditions and to propose a comprehensive model. A systematic review methodology was employed in this study. The findings of relevant domestic and international research were systematically analyzed using the seven-stage method of Sandelowski and Barroso. Based on inclusion and exclusion criteria, 30 studies were examined. The Waltz and Bausell method was employed to assess the validity of the extracted data. The reliability was also assessed through the Kappa coefficient, yielding a value of 0.87, indicating excellent agreement. The research results led to the formulation of a comprehensive model comprising seven factors: economic, social, individual, institutional, physical, educational-promotional, and ecological. Among these factors, the economic factor emerged as one of the most influential. The resultant model, identifying the factors that impact the resilience of pastoralists under drought conditions, provides the potential for enhancing crisis management, reducing vulnerability, and establishing the necessary groundwork for nationwide rangeland planning.

Like many other tribes, the Kurd Tribe, the largest nomadic community in Ilam province, has many of its member families settled in the recent years. The present paper compares the livestock production systems of these settled families against the system practiced by the pastorals. Data was collected from 250 questionnaires for pastoral and 157 for settled nomads.The results showed that the combination of herds were different in the two communities. In the settles nomads, the proportion of sheep and cattle increased by 7% and 2.4% respectively, while the proportion of goats and other livestock decreased by 8.3% and 1.1%. The livestock products of the Kurd Tribe included meat, dairy products, and wools, respectively accounting for 77.2%, 20.2% and 2.6% of the annual income of the pastoral communities, the same figures being 81.5% , 16.9% and 1.6% for the settled nomads. In the pastoral nomads, the annual cost of fattening per head of sheep, goats, and cattle was higher than that in the settled communities by, 1.50%, 1.51% and 1.47%, respectively. This was while the incomes per settled family was 18.16% higher than in the pastoral areas.

During the period between the two wars, although some theatre critics were considering the work of the producer more important than the drama text, a few dramatic writers created some poetical plays which derived all their power and influence from accurate poetical texts.Jean Giraudoux occupied an important place amongst masterpieces and his works brought him universal reputation.The fact that a very large public praised his dramatic works in spite of the different levels of their knowledge and the ambiguity of his ideas and intentions raises an important question: What do we expect from a drama? The question is to know if someone who reads or watches a play has to understand clearly all the author's ideas and intentions.This article attempts to answer this important question as far as possible with an analytical look on Giraudoux's most famous play, Intermezzo and also would consider his ideas and those of the critics who have written about his work.

Classic Aristotlian drama based on essential elements in its connection with the spectators is practically a one way course of action that ultimately aims to entertain and influence viewers. New approaches of interdisciplinary studies on narratives have provided the grounds for the possibility of increasing the role of the audiences and their mutual participation in story making. The emergence of computers into dramatic domains has caused new aspects of narrative models. Dramatic logic of the narrative based on computer factors are pointed out and classified. This classification provides the possibility of creating and generating various narrative models for user-audiences who, as well, are viewers, the intervening agents of narrative softwares. Generally, interactive dramas have been limited in a the sense that the audiece is although considered a vibrant player, he/she can only make decision that have already been decided and set forth in the program. Here, we are propsing a new strategy of taking new directions. The interpretive process for writer/player/domain could pave the way for creativity. As a new kind of virtual dramatic relationship, interactive drama, is the result of an interaction between computer and dramatic disciplines. This interaction itself is the consequence of a modern alliance between traditional audiences and dramatists. In this new process, the audiences are able to aesthetically manipulate the development of a narrative formation and change the actions taken by characters. They can actively alter and modify the directions a story may take. The user of narrative sofwares reestablishes his/her own position during the process as a new key factor. Hence, a new domain of narrative story telling has been establishes in which the dramatists and audiences work within the boundaries of imagination and the probabilities available within the computer algorithms. One of the main characteristics of this interactive drama is that it is an open-ended narrative which can be influenced by the player/audience. The effects of this type of drama may therefore go beyond catharsis through identification with the main character(s). Very close to the idea of the "willing suspension of disbelief' theory, the (active) audience might immerse himself/herself in the work to have a unique and independent experience. Thus becoming a powerful agent who can perform independent actions based on the character's intentions and could in effect transform himself/herself. If we consider the uses of computer drama in conjunction with the possibilities of multimedia in a way that the users, while in a text, would be able to move their characters in desirable environments and, based on their characteristics, can change locations at will and thus redefine their relationships with other users on-line, we can appreciate the strength of the dramatic value of the interactive virtual multimedia potentials. Analyzing the dramatic models by computer logics reveals undiscovered possibilities which could help recon figurate fictional dramatic events. Interactive Drama indicates a dynamic relationship for the virtual aesthetics and also for the interdisciplinary study of arts and technology. These new grounds may provide fresh material for the already established dramatic media and hence their use in the development of material for theatre and film.

The climatic diversity in Mazandaran province has resulted in the development of distinct spaces for the production and utilization of livestock, each with unique physical and functional characteristics. Gesansereh and Telar are two spatial elements utilized by local communities in Mazandaran Mountain and Angehroud Noor village. The research aims to document the architectural and cultural characteristics of these elements. Factors such as immigration and the shift from traditional livestock farming to industrial systems have led to the decline and neglect of this native heritage. The article's purpose is to introduce the native heritage related to animal husbandry using a descriptive-analytical research method. The results of the research demonstrate that Telar is a traditional structure used for livestock in the winter, while Gesansereh is used for milking sheep and producing dairy products in the summer. Each structure has a unique architecture based on its function, containing indigenous knowledge related to animal health, social systems, and cultural traditions related to local food and product production. They are considered part of Iran's pastoral and agricultural heritage and have a significant relationship with geographical livelihood and sustainable development.

Enjoying theatrical uniqueness and autonomy, radio drama is a renowned and recognized kind of drama. Meanwhile, dramatic space in radio plays is a critical, important issue to be focused on. Using methods and vehicles provided by semiotics, this study tries to analyze various aspects of “ creation of space” in radio drama, showing how fundamental information could be presented in order to gradually establish the space of the drama. To this end, first space-creating parameters in radio drama are recognized with their functions in space-creating, using textual analysis based on “ stratificational semiotics” . stratificational semiotics is analytical perspective to the text which was presented by Farzan Sojoodi. This theory, proposed in the author’ s book, Applied Semiotics (Sojoodi 2003). Stratificational semiotics, has been proposed first, as a hypothesis, and after being examined and evaluated in research and various studies, , gradually distinguished its position as a scientific theory in discussions of semiotics, and now, stratificational semiotics, is accepted as a scientific theory and considered as the theoretical foundations of numerous theses, books and scientific articles. It seems that giving a very brief account of this approach is inevitable, in the frame of stratificational semiotics, the text is composed of several layers that some of them may be considered more important than the others, But the implications of the text are affecting all layers. “ Meaning” is an outcome of the interaction between all text layers, sub-layers, prior knowledge and codes. This study attempts to rely on the theoretical foundations of stratificational semiotics, to analyze four elements in radio drama-speech, music, sound effect and meaningful silence-as the space builder layers in radio drama. so that, each of these factors produce a “ text layer” and therefore promote their functions and roles in the creation of space. So, we have four layer which include: layer of speech, layer of music, layer of sound effect, layer of silence, and, there is a syntagmatic relations or associations between them. These layers interact with each other, influence each other and finally make the overall space of the play. The effective space-creating leads to mental imagery and producing meaning to the audience of radio drama. The space in this article not only means where the theatre takes place, but it refers to the dominant spirit of the drama’ s world. Space-creating in radio drama occurs in two stages: one, when the author writing the play, and reflected his mind in the drama, and the other, during the recording of the play, that, at this stage, the director is responsible of creation of space. In this paper Space-creating in its first stage, the writing of the script, is desired. Finally, the study intends to show how to create the Comprehensive space of the drama while introducing place, time, action, characters location as well as moods such as warmth, coldness, heaviness, disappointment, happiness, fear, love, sorrow, hesitation, mystery, and etc. through intensifying interaction between different textual layers constructing mood.