One of the main drivers of tourism in today's competitive world is urban symbols and elements. Recognizing these symbols and introducing them to the field of tourism can be fruitful in advancing the various goals of this industry, in addition to spreading and exporting indigenous cultures and beliefs. Based on this, the present study was conducted with the aim of identifying and analyzing the role of urban symbols and elements in the development of tourism in Khorramabad. The research method in this research is descriptive-correlation and the type of research is applied. The statistical population is urban tourism experts and specialists, according to the model used, 36 questionnaires were distributed among the statistical sample. Cronbach's alpha coefficient for the whole questionnaire was calculated above 0. 7. The structural equations of pls software were used to analyze the data. The results showed that urban symbols and elements have positively predicted 0. 741 of changes in urban identity and 0. 512 of changes in tourism development. Urban identity also predicted 0. 408 of changes in tourism development. In fact, urban identity accounted for 0. 302 of the relationship between urban symbols and elements to tourism development; Finally, the results of the final research model, considering that all three paths were significant in the presence of the mediator variable, indicate that urban identity has a partial mediation role in the model.

In prominent mystical texts, including the works of Rūmī and 'Attār, Mahmūd appears as a symbol of the destination and the purpose. In this paper, the writer; examining this symbol in the works of the great Iranian mystics, explores the reason why the symbol is so well-known in the history and culture of Iran.  

Our cities experienced identity crises due to the ignorance of the native urbanism and it becomes worse by the course of time. In urbanism, urban symbol or urban element are important structures in architecture and design which are conceptualized inside the city in the sphere of convectional experience among the citizens; so that sometimes are more manifested that the city itself. Because they indicate identity, prestige and the assets of a city by the structures and play important role in the reading of people about city and their living environment. In this study a field research was conducted to collect that data via questionnaire completion and provide a general reading of the place. Also the research exploited secondary sources to develop conceptual context of the subject. The results revealed urban symbols are the main elements of urban identity which Gonbad kavoos tower is the central focal of the city. At present there is not any new effort to create new element as symbol of the city and it seems that even the only tower of the city has not been introduced to national and international market as the tallest brick tower of the world.

AB-Boshghabi (Centella asiatica) from Apiaceae family, has been used as a traditional herbal medicine in Asiatic countries for hundreds of years.This plant is indigenous to the warmer regions of both hemispheres, including southeast Africa, Asia, Srilanka, the Pacific Islands, Madagascar, Eastern South America, Venezuela, Columbia. It is especially abundant in the swampy areas of India, Iran (around the Anzali lagoon), and Pakistan, Upto an altitude of approximately 700m.This hygrophyte plant is considered as a "vulnerable species" in the Red data book of plant species of Iran. This valuable hygrophyte species has a definitely exclusive habitat around the Anzali lagoon. The major principles are the triterpenes asiatic acid and madecassic acid, and their derived triterpene ester glycosides, asiaticoside and madecassoside.The major clinical indications for the use of centella asiatica in human include the treatment of wounds, venous insufficiency of the limbs, Certain mycobacterial infections and cellulitus. In the present article, we review mainly medicinal aspect of Centella asiatica that hitherto has not received much attention.

Toady, one of the main factors contributing to the air pollution in such metropolises as Tehran are the suspended particles resulting from automobiles, heavy traffic on the roads,  and different industrial activities.Particulate matter (PM) is a generic term used to describe a complex group of air pollutants that vary in size and composition, depending on the location and the time of their dispersion. The PM mixture of fine airborne solid particles and liquid droplets (aerosols) include components of nitrates, sulfates, elemental carbon, organic carbon compounds, acid aerosols, trace metals, and geological materials.ADMS-Urban is an advanced model which is used for calculating concentrations of pollutants emitted continuously from point, line, volume, and area sources and of pollutants emitted intermittently from point sources. The model is an advanced Gaussian-type model and uses Gaussian distribution for such concentrations and is recommended for regulatory use for multiple buoyant or passive industrial emissions from urban or rural areas of flat or complex terrains with transport distances less than 50 km and periods of time ranging from a few seconds to a year.The percentage of the suspended particles and meteorological parameters such as the speed and direction of the wind, temperature, and cloud cover were measured for the city’s municipality District 22 over a year, twice in a day (morning and afternoon), and for one week in each month. The data were collected at 13 mobile measurement stations during the critical time of traffic (the time with the highest rate of density and dispersion of suspended particles in the air).The obtained results were presented in the GIS environment of the District because of the availability of sheets in that environment. The output of this mathematical model was compared with the inventory model (databank) of the air pollution in District 22. The results showed a similarity between the output of the mathematical modeling and the real measured data.This model has been used for the first time for modeling the pattern of particles emission in Tehran. The results also showed that due to the existing vehicles and traffic, Tehran-Karaj freeway and the eastern border of District 22 had the highest density and concentration of suspended particles.

Ghahreman Shiri∗Although Hindi style has been apparently used in the most non-political poetic period in Iranian literature, in fact most of its principle features have been formed in reaction to cultural policies of Safavid era. Intricate imageries and reasoning characteristics are in response to superficiality and shallowness of the people. An attempt to discover tenor and aversion and dissidence to tradition, politics and ideology are as well reactions to political and cultural limitations and prohibitions which eventually results in a quite different world from the present realities in the society.

From the perspective of rhetorical word, a symbol is a phrase or a sentence that has an apparent meaning. Moreover, it inspires the reader a wide range of meanings. Since expressing the complicated social and political ideas and indirect reflection of social and political thoughts is easier if done symbolically, so the symbol and symbolism- especially in Persian literature and specifically in the realm of Persian poetry- have had a special appearance. In addition to the factors mentioned, in the contemporary literature, paying attention to defamiliarization in literary works and the emergence of particular schools interested in ambiguity, have increased the range of symbolization. More especially, the symbol has all the features of artful ambiguity, and it is one of the major factors causes ambiguity in the poem. Thus, giving exact definitions and contemplating on symbols of contemporary poetry could resolve the ambiguity of them and help the reader to distinguish between similar figures, that is, coded kennings and symbol-like metaphors.In literature, especially in language of poetry, the inability of language to reflect obscure mystical ideas, avoiding direct expression of political and social concerns of the reader in the course of participation with an aim of creating ambiguous literary works is the main motivation towards symbol and symbolization. According widespread use of symbol and its different species can be viewed from different perspectives. The creation of ambiguity is the main purposes of using symbols (especially in contemporary poetry), so the efforts of many poets to achieve this goal have caused formation of similar symbols. The explanation and resolution of this issue can open new window for understanding the poetry in front of the audience.This paper examines the ambiguity of symbols in terms of its precise boundaries.Ambiguity is one of the important and key processes in the Iranian poetry, or in a better word, today poetry. In such poetry ambiguity is a necessity to explore the new world or from a different perspective, it is the result of this complex world. In general, in Persian poetry there are three types of ambiguity such as: nonessential ambiguity, intentional and unintentional ambiguity.An effective literary texts, owes its origin to creation of multiple meanings and spreading its levels of meaning. One of the serious differences between literary work with other linguistic works is the plurality of meaning. Richness and depth of literary texts and creation a range of meanings, is the result of ambiguity. In this respect, engaging the reader in creating meaning will make a typical interaction between the audience and the text. Ambiguity provides opportunities for deep thinking and reacting of reader, so takes reader beyond freedom of the text within its borders and freedom of thought has to be brought for its reader.Having interaction between text and reader in the history has caused different reactions and multiple conversations with generations. This process has been interpreted as dynamicity of the literary work. The ambiguity of the poem is creating by the symbols and symbolism. So the symbol is a rhetorical element suggests the reader the apparent meaning, in addition to a wide range of meaning. In classical Persian works ambiguity in text is created indifferent forms such as kenning and metaphor and code. Today, symbol is burdening this task mostly.In past, allegory in terms of clarity divided to the four categories: Allusion, gesture, code and innuendo. Those kennings are considered as codes that vehicles are hidden in them, and perception of their meaning is difficult and sometimes impossible. So, in this case, code should be considered as a mark or word. Also there are metaphors due to their newness and uncertain senses to support new meaning according to the traditional meaning and appearance of metaphors (i.e. not considering true and apparent meaning), with multiple figurative meanings takes readers to the border of suspicion of doubt about symbols. These metaphors generally are divided into two categories: metaphors that are close to the symbol and symbols that have been decoded. Since the nature of symbol is fundamentally ambiguous and multiple causes dynamicity and depth of literary work. Poets- especially today poets - try using symbols and symbolic terms in their work or even take steps in symbolization. The scope of this paper consists of the concept of true symbols and similar ones such as coded kennings and symbol-like metaphor.As noted above, "ambiguity" is the main goal of a symbol, especially in today poetry, where the poet hides his purpose and expression in cover of meaning and makes the audience confused. Although other rhetorical elements, such as metaphor and allegory, pave the way for reaching this goal, because of signs (which lead the reader to the original meaning) cannot be as ambiguous as symbol and by semantic flexibility force reader to think deeply. Therefore, poets' efforts to connect metaphor and kenning to symbol for reaching a higher level of ambiguity, put issues like coded kennings and symbol-like metaphors in front of real symbols.

Symbol is one of literary techniques which has been given attention by many poets. In its general meaning, symbol is the representation and explanation of something. The important characteristic of symbols is its ambiguity, unclearness, undetailedness and indirectness; it means that in symbolic language, desire and intention, is not the appearance and a figure of speech, but it is a concept, beyond the surface and deeper. Sohrab Sepehri, one of the contemporary poets, has used symbol in his poems and one of the mysteries of his poems is ambiguity and complexity. In this article the effort was to study and describe symbols in Sohrab’s poetry as much as possible, to see his worldview and his ideas from this point of view. Symbols of Sohrab’s poetry are originated in his Gnostic, philosophical and social beliefs and ideas. He has been affected by different cultures of Islamic Iran, ancient India and China and Christianity. However, his poetry announces an internal enthusiasm and personal behavior. Sohrab is a Gnostic poet and his symbols are different from socio-political symbols of his other contemporary poets.

Sohrab Sepehri, the contemporary innovative literary stylist poet, has always employed a symbolic and, at the same time, a peculiar language which is unique by itself. In general, his poem is a symbolic and a poetic description of a kind of mysticism intelligible to common people. Through drawing upon poetic elements, phenomenon, and lexicon, Sepehri has tried to awaken the unconscious nature of his readers and divert their attention to new horizons. Due to his mentalityand also his peculiar understanding of the events, he has had to resortto an unusual and symbolic language based on intuition. In this way, he has achieved a certain kind of aestheticism in his works. Semantic, linguistic, imagery and symbolic defamiliarization can be traced in his poetry. These very peculiarities have made him a different and modern poet in our time. The present paper reviews some aspects of Sepehri's symbolism through exploring his use of words, objects and the living things as perceived through his intuition and mysticism.

As the most complex manufactured structures, cities face excessive population growth. Their expansion has intensified on high-risk sites, and the available evidence also indicates the continuous increase of all types of natural crises in terms of intensity and frequency. Scientific and experimental findings show that the best way to deal with danger is to promote the resilience of settlements in different dimensions (social, economic-livelihood, physical-spatial and institutional); in other words, resilience in both human and environmental dimensions comprehensively. It decreases and increases. This research has evaluated and analyzed the components of resilience in Sari. The method of the present study is applied in terms of purpose and descriptive-analytical and field in nature. The statistical population in this research includes citizens living in the four districts of Sari, and the sample size was determined based on Cochran's formula of 383 people, who were selected from among the statistical population by stratified sampling. The questionnaire is the method of collecting library and field information and its most important tool. For data analysis, descriptive and inferential statistics (one-sample t-test and structural equation modeling) were used by SPSS and Smart PLS software, and entropy and SAW models were exerted. The research results indicate that the situation of the four regions of Sari regarding social components has better conditions than other dimensions of resilience. In terms of institutional components, they have a vulnerable state. According to the entropy model, among the components of resilience, the institutional dimension has the most weight, and the economic dimension has the least weight. Moreover, according to the SAV model, Region 1 ranks first, and Region 3 of Sari ranks last in having the components of resilience dimensions.