Theileria lestoquardi and Theileria ovis are the causative agents of ovine theileriosis in Iran. The disease severity and the outcomes of these two species are completely different. Theileria lestoquardi unlike Theileria ovis, causes a severe disease with a high morbidity and mortality rate called ovine and caprine malignant theileriosis. The pathogenicity aspects of T.lestoquardi are poorly understood. Many studies have investigated the pathogen molecules of Theileria annulata and Theileria parva involved in both host cell transformation and proliferation. TASH (Theileria annulata schizont) pathogens proteins in theileria annulata are secrotome proteins, synthesized in schizont stage, located to parasite and host cell nucleus and are related to parasite pathogenicity. In the present study, multiple primers were designed based on TASH genes and the presence of TASH-like sequence in Theileria lestoquardi and Theileria ovis genomes were assessed. A 420 bp nucleotide sequene in T.Lestoquardi which was very similar to TASHHN in theileria annulata was identified. This is the first report of a Theilerial lestoquardi sequence that would appear related to pathogenecity of malignant theileriosis in sheep.

Elika Formation at the TASH section (300 m in Thickness) is one of the most complete sections in the eastern Alborz basin. Petrographic studies indicate that carbonate sediments of the TASH section could be divided into several groups of microfacies which has been formed in four sub-sedimentary environments, including: Tidal flat, Lagoon, Bar and Open marine. The absence of reef and resedimented facies indicates that the carbonate platform of the Elika Formation is similar to the recent Persian Gulf shelf (Ramp). Field and laboratory studies showed that the sediments were composed of four third-order depositional sequences.

The TASH bauxite mine is located approximately 6 km northeast of TASH village and 40 km northwest of Shahroud city in Semnan Province with coordinates of 36° 32′ N to 36° 37′ N and 54° 41′ E to 54° 48′ E. The actions of the orogenic phase of the former Cimmerian as well as the chemical and physical factors have caused the erosion of the basalts in the Shemshak sedimentary basin, which has resulted in the simultaneous deposition of the Shemshak molasses and bauxite in the TASH area. According to some geological evidence and the location of Elias rule, bauxites in the vicinity of Shemshak Formation shales, it is concluded that the clay minerals have played an important role in forming the bauxite deposits in this area. The results showed that the basalts were formed from the alkaline magma and then altered to clay minerals. The remaining immobile elements such as aluminum and residual iron formed the TASH bauxite deposit. The investigation of thin sections designates that the studied ore contains ooidal, plitomorphic, allogeneic pizolite, coloform, and compressive dissolution texture, which indicates the autochthonous origin. Pyrite, chalcopyrite, goethite, and hematite were also recognized. The mineralogical study, performed by the X-Ray diffraction method, led to the identification of minerals of anatase, boehmite, diaspore, chamosite, kaolinite, quartz, and hematite. Analysis of ore samples by the X-Ray fluorescence method and calculation of aggregation coefficient of trace elements and geochemical indicators along with geological evidence revealed the source rock could be from the mafic type.

Realism, as a realistic school school of thought, expresses the realities of society with the intention of criticism and reformation. By dealing with the lives of heroes, realist artists display a look at the social and political situation of a nation. Accordingly, the story of war is remarkable considering the fact that it is a reflection of realism. “TASH Khand,” as written by “Bani Ameri,” has been narrated through the style of internal monologue and in a language, which is free of complexity and literary art. The design, characters, and elements of Bani Ameri's story conform to the principles of the realistic school of thought and the author's objectives, experiences, and observations have been involved in the creation of "realism". This paper aims to analyze the events of war based on realistic features. Critics’ views on realism are discussed while examining this story from a new perspective. As the results of this study have indicated, the story of "TASH Khand" is one of the realistic stories with its unique characteristics such as characterization, description of details and creation of realistic scenes, attention to time and place, use of slang, etc. Consequently, this story can be introduced as a prominent example of the style of realism in the works of war.IntroductionRealism is a literary movement that has gained popularity in Europe and America during the mid-19th century. This school of thought has emerged as a counter-movement to Romanticism, focusing on objectivity and the depiction of real events, whereas, Romanticism emphasized subjectivity. Realism prioritizes the recreation of real incidents in stories, highlighting details, and the provision of impartial observations of events. Its principles include detailed descriptions, attention to small but significant events, use of a third-person narrator, and character typification.In Iran, where the study has been conducted, the Realism movement gained traction after the Mashruteh Revolution, leading to the creation of significant works. The primary characteristic of Realistic works in Iran is their emphasis on the social role of individuals, seeking the roots of good and bad behaviors within society. Authors of such works do not neglect detailed descriptions in analyzing social relationships. Rather, they meticulously examine the time and place of events and narrate the bitterness, pains, and tangible societal issues, thus reinforcing the sense of realism in the story. They also create character types to emphasize the authenticity of the story's characters. From the point of view, these authors narrate the story from their perspective (as first-person scene observers and narrators) to make it more believable, using colloquial language to enhance realism.Method and ResultsHassan Bani-Ameri, a contemporary Iranian author, has published numerous works in the fields of novels and short stories. One of his short stories, namely "TASHkhand," is set in the context of war literature. This story depicts facets of war from the perspective of a soldier who is in the midst of these events, attempting to portray the real occurrences of war with artistic techniques and vivid descriptions.Given the importance of examining an author's intellectual foundations to understand their intellectual dimensions, this study aims to demonstrate the influence of Realism on this story. Via providing reference to credible library sources and employing qualitative content analysis, the current study aims at reviewing the work. The notable features of Realism, such as war themes, detailed descriptions of events, and the realistic conditions of the characters are analyzed and explained through Realistic elements and narrative features in this work.ConclusionThe study concludes that Realism can be an appropriate method for writing war literature and can have a greater impact on readers compared to other narrative methods. Through utilizing features such as character development, detailed descriptions, realistic scene setting, attention to time and place, use of colloquial language, and realistic themes, the discussed story serves as a prime example of Realism. By employing this writing method, the author has successfully depicted parts of the realities of war and the psychological states of individuals in the best possible way.

The presence of 2 species of genus Codonopsis in the flora of Middle Asia was traced. Description of a new species found in the western part of Uzbekistan is given. Furkat O. Khassanov (correspondence), Ulugbek H. Kodyrov, Central Herbarium, Institute of the Gene Pool of Plants and Animals of Academy of Sciences of the Republic of Uzbekistan, st. Durmon yuli 32, 100125, Т ashkent, Uzbekistan. Anar Myrzagaliyeva The Republic of Kazakhstan, 070019, Ust-Kamenogorsk, 55, Kazakhstan st., East-Kazakhstan State University.

Peganum harmala L. (Zygophyllaceae) is one of the most important medicinal plants had been used in traditional medicine in North of Iran as anti parasite, anti inflammatiom, anti tumor and anti infection. The aim of this study was to evaluate of ecological factors, ethno pharmacology and record of the relationship between secondary metabolites content and their antioxidant activity in seeds extract of plant. Ecological factors and ethnopharmacological data were obtained in many field observation. The seeds were collected in TASH Mountainous region (2750m) in August 2011, dried and were extracted by ethanol solvent. Total phenolic (TP) and total flavonoids (TF) content were determined by spectrophotometry method. Total antioxidant capacity (TAC),1,1 diphenyl-2-picrylhydrazyl (DPPH) free radical scavenging assay and reducing power assay (RP) methods were applied to measure antioxidant activity. Field observation showed that Peganum harmala is a perennial plant which can grow 30 to 70 cm tall, somewhere with annual average rainfall about 197mm, in sandy clay loam soil. Flowers appeared in mid to late of May and fruit maturation occurred in June to July. The results demonstrated that the TP was 61.55±0.84 mg GAE g-1 and TF content 42.21±0.66 mg QUE g-1. IC50 was measured 53.64±0.5 mg/ml in DPPH 17.34±0.71 in TAC and 84.75±0.89 in RP method. Analyses of results showed a positive correlation between antioxidant activity and the most important secondary metabolites, which explains and confirmed the application of plant in traditional medicine as an antiseptic, anti-tumor and disinfectant agent.

The art of TASH’eer and its various applications during the schools of Shiraz and Herat, finally led to a widespread presence on the margins of books and covers, around written texts and pieces of painting in the second school of Tabriz. The design-like feature, along with the elegance in the implementation of plant and animal motifs and nature and sometimes human figures, is known as one of the distinctive features of this art, so it can be said that some characteristics of Iranian painting, are more obvious in the works of TASH’eer. During the heyday of painting in the second school of Tabriz, the art of TASH’eer was established as a part of painters' activities and its execution method became the model for later periods. Among the most important collections with TASH’eer, we can mention the exquisite work of Khamsa Tahmasbi, which is considered an important work in terms of the variety and quality of the patterns. The TASH’eers of Khamsa Tahmasbi were created by the artists of the second school of Tabriz (10th century) and Isfahan school (11th and 12th centuries). The patrons of Tabriz period have sought to create worthy and valuable treasures that are equal and even more magnificent than the previous works. Stable governance conditions, competition with the famous Timurid period under the rule of Shahrukh and Sultan Hossein Baiqra, as well as the handover of the library to Sultan Mohammad and his merit and competence in managing each of the collections can be among the reasons for the creation of this fruitful period in Tabriz, which is reflected in the executed subtleties of Khamsa Tahmasbi's TASH’eers. In examining the method of execution, one should pay attention to the way of using the brush, which is the only tool of painters in the existing works; this tool has the ability to draw lines with a range of different thicknesses. Due to the importance of the second school of Tabriz, the present study is aimed to identify the way of creating visual effects using brush and gold paint in a part of the TASH’eers of Khamsa Tahmasbi which was done in Tabriz. Therefore, the question of this article is: What are the characteristics of the technical methods of Khamsa Tahmasbi's TASH’eer in the second school of Tabriz? With descriptive-analytical method, elements such as how to use the brushes, use of ink, darkness and lightness, full shape drawing (Silhouette), texture, pardaz (stippling), shine of gold and silver and color tones are described. The gathering of information has been obtained through library studies and images available on the website of the British Library. The necessity and importance of research is to increase the attention and knowledge of artists and researchers and to create a platform for more understanding of the basics of Persian painting, considering the lack of available resources in this field. It seems that the contemporary period in reviving past practices and increasing awareness of Iranian arts needs such research, and in the meantime, the second Tabriz school due to the abundance of works in quantity and quality, spiritual thought and taking advantage of the systematicity of the Herat school next to the dynamism of the Turkmen school, has a prominent position. The most important findings show that the use of dilute color was common; the line ink drawings were the main focus in the Tabriz school.  Creating light and dark as a color change, darkness and lightness play a complementary role in the shape and line. In TASH’eer, the use of background is important. The second Tabriz school, as a period of peak of painting, has skillfully displayed various aspects of the use of darkness and lightness in Khamsa Tahmasbi and its effects have appeared in different lines, shapes and genders. The function of the background as light or shadow levels in shaping an element such as mountains and rocks is obvious, the line plays the main role in shaping the form and the color does not lead to exponential volume. Another common feature in the examined samples is the use of pardaz (stippling) and creating texture, especially on the body of animals. The artist of the second school of Tabriz has a great variety and artistic vision in using this visual element as well as line. Apart from gold, in the TASH’eer of the Tabriz school, we only see the use of silver, which is mostly used to show water and sometimes horns, hooves, etc. The ability of these methods can be generalized in the TASH’eer of other schools and due to the nature of type design, they can also be seen in painting design methods.

Introduction: Bauxite deposits can be classified into two main categories according to the bedrock lithology including karstic bauxites, overlying the carbonate rocks and lateritic bauxites overlying alumosilicate rocks (Bardossy, 1982). The Alborz structural zone in northern Iran is the host of a number of important karstic bauxite deposits. TASH and Astaneh bauxitic-lateritic deposits are two of them, located about 40 km north of Shahroud and 30 km northwest of Damghan, respectively. The TASH bauxite deposit has been developed as a strati form horizon along the contact zone of Ruteh limestone and Elika dolomitic limestone, whereas the Astaneh laterite deposit located along the contact zone of Triassic dolomitic limestones and Jurassic shale and sandstones. In this paper, the TASH and Astaneh bauxite deposits are examined in terms of field relations, lithologic associations, petrography, mineralogy and geochemistry. The objectives were to determine the deposit characteristics, the paleoenvironmental conditions in the region and the processes responsible for the mobilization, fractionation and deposition of Al, Fe, and Si...

Nasta'lī q and TASH'ir are two companion elements in Iranian book illustration. The two art forms have been shaped almost at the same historic era. Therefore, they have been frequently used together. Accordingly, addressing this issue in the present study is of paramount importance. The present study is aimed at identifying the exact form of Nasta'lī q and TASH'ir in Iranian book illustration from Timurid period to Qajar period. In the matter of this issue, the present research study is sought to answer the following research questions: 1. What factors have led to the formation of Nasta'lī q and TASH'ir in Iranian book illustration from Timurid period to Qajar period? 2. According to the formalist approach what similarities and differences are found in Nasta'lī q and TASH'ir? The answers to these questions have been reached through a descriptive-analytical method with a view to the theory of formalism. Data is collected using library sources. In summary, the results of this study show that the inclusion of these two arts after interregnum led to the display of the Timurid external decorations to show their assets. Cumulating wealth in his territory, Timur contributed to the growth of the art of book decoration during his successors' period, so that the Timurid kings paid more attention to the appearance than to the content of the manuscripts, and constantly produced a variety of copies of a book. This is also evident in the architecture of that period. Therefore, the decorative margins and the delicate texts of Nasta'lī q, which were used for the beauty of the manuscripts, were directly associated to the display of the immense wealth of the Timurid. Another point that led to the emergence of these two arts in the art of book decoration was the combination of the art of the past, that is, as Nasta'lī q was formed by the combination of Naskh and Taʿ lī q, TASH'ir came from the combination of Persian miniature and illuminated manuscript. Therefore, dichotomy is a common point between them; in addition, other commonalities such as the strength and weakness of the lines, the dispersion of patterns and letters, the selection of color of TASH'ir and the Nasta'lī q, having certain rules in measuring the size of patterns and letters, all served the coordination and unity of the manuscripts. The increasing application of Nasta'lī q and TASH'ir together during the Safavid period reached its peak, and the common external features among them in Muraqqa reached a stable equilibrium. In fact, if Muraqqas were not prevalent, TASH'ir would not have flourished to such an extent. Moreover, the decorative potential of TASH'ir also appeared in Nasta'lī q vocabulary, indicating their impact on each other and causing a further similarity between them. From the Qajar period, a new form of art was created separately for the purpose of Nasta'lī q calligraphy, which was called Siyah mashq. Calligraphy that always had narrative was then free of narrative, and letters and words had only decorative aspect. The placement of different layers of gray produced from compound concentrations of ink, made a variety of decorative compounds. In addition to the above mentioned commonalities, one of the main differences between them is Nasta'lī q's regularity compared to the free exercise of TASH'ir. The exercise of TASH'ir is done by paintbrush, causing irregular movement of TASH'ir designs throughout the whole margins of the manuscripts, while Nasta'lī q letters are exercised using reed pen to be written on a given line. Failure to observe this rule causes the apparent coherence of the text to be eliminated. Another distinction is the priority of narrative aspect in Nasta'lī q, compared to the decorative aspect of TASH'ir. In the qualitative system of book decoration, there is a hierarchy in which the text has a priority and the decorations are in the next levels. Nasta'lī q's position in the main page and TASH'ir's at the margins, indicate degrees of the book decoration. On the other hand, there is another difference in their position. TASH'ir ornaments should not be entered into the text frame on the page, because they make it difficult to understand the text and create a disorder on the page, but the text frames can break the rectangular shape of the margin and enter it. These points have been studied over the course of different studies.

Objective: To investigate the role of red cell distribution width (RDW) in comparison with Trauma-Associated Severe Hemorrhage (TASH) system in predicting the mortality of multiple trauma patients, referred to the hospital emergency department. Methods: This follow-up study was conducted on multiple trauma patients (age ≥ 18 years) with Injury Severity Scores (ISS) of ≥ 16, who were referred to the emergency department from March 1, 2017, to December 1, 2017. First, all patients were evaluated based on the Advanced Trauma Life Support (ATLS) guidelines, and then, their blood samples were sent for RDW measurements at baseline and 24 hours after admission. The ISS, Revised Trauma Score (RTS), and TASH were measured in the follow-ups and recorded by third-year emergency medicine residents. Hospital mortality was considered as the outcome of the study. Results: In this study, 200 out of 535 multiple trauma patients were recruited. The frequency of hospital mortality was 19 (9. 5%). In the univariate analysis, there was no significant relationship between hospital mortality and RDW at baseline, RDW on the first day, and Δ RDW (RDW at baseline-RDW on the first day), unlike ISS, RTS, TASH (p=0. 97, p=0. 28, and p=0. 24, respectively). On the other hand, in the multivariate analysis, ISS, RTS, and TASH showed a significant relationship with hospital mortality. The greatest area under the ROC curve (AUC) was attributed to TASH and RTS systems (0. 94 and 0. 93, respectively). Conclusion: TASH scoring system, which was mainly designed to predict the need for massive transfusion, may be of prognostic value for hospital mortality in multiple trauma patients, similar to ISS and RTS scoring systems.