Concrete verse is a kind of poem which transfers some part of meaning and concept to the addressee with emphasis on Visual signs. The aim of this research is to analyses methods of creating of Visual signs n contemporary poems which studies poems of Shahroodi, Saffarzade, Mehrdad Falah and Afshin Shahroodi. According to the findings, concrete verse is divided into general types: The first is concrete verse relying on words which usually have writing abnormality and it can be said major part of concrete verse before revolution is of this kind. Another is concrete verse relying on outer context material such as picture, portrait and pattern which can be seen in the in the concrete verse of 1370s and in particularistic view concrete verse has other types which by relying on these tricks are formed: breaking and making distinct parts of word, repetition of letters and phrases, using number and punctuations as Visual signs and organizing to the whole of writing to create a picture, using graphic software to ordering form of the poem, using photo and picture n poem and using design to create Visual signs according to findings it can be concluded that in contemporary concrete verse mostly breaking and making distinct parts of words method is used.

The interrelation between words and images in creating meaning is one of the important principles of contemporary art. In contemporary art (from 1970 onwards), artists often combine words and images to create complex and multi-layered works that challenge the traditional notions of media and communication. Considering the long history of the coexistence of word and image in the Visual arts of Iran and the use of writing and calligraphy in modern Iranian painting, which is known today as one of the characteristics of Iranian painting, The aim of this paper is to explain the role of written signs on the reading of Visual text in contemporary Iranian painting. We are concentrated on the question that, how does the presence of words in the frame of the painting affect the meaning and conception of an images? For this purpose, the works of three contemporary Iranian painters who applied different approaches in combining written signs and pictorial signs in their paintings were studied. These painters are: Khosrow Hasanzadeh (b: 1963), Fereydoun Ave (b: 1945), and Davood Zandian (b: 1954). The method of collecting data is documentary and field study, and for semiotic-semantic analysis of selected samples the layered semiotics method was used. The studies show that the presence of written signs inside the frame of the painting in contemporary Iranian art has various functions,from one side, the written signs sometimes limit the implicit meanings of the image by relying on the expressiveness of the speech and facilitate the reading of the Visual text,and one the other side, written signs may add to the perceptual dimensions of the work and rejecting the limitations of mere Visual perception, they also add to the multiplicity of the semantic implications of the image. By the way, in some cases, the expressive function of writing has been abandoned in favor of the Visual function, and verbal signs have turned into Visual signs of identity.

In this study, a new sign for clinical diagnosis of acute appendicitis is introduced. The study was performed on a sample of 250 cases simply selected from the patients with acute appendicitis admitted to Al-Zahra Hospital of Isfahan. Before operation, the patients were evaluated for this sign in order to. assess its predictive value in diagnosis of acute appendicitis. Following the intervention, the appendix was sent to the department of pathology to confirm the diagnosis. Abdominal examinations prior to operation included checking the superficial and deep tenderness, rebound tenderness, Rovsing and the new sign. To check the new sign, while the patient was lying in a supine position, then the physician places his left hand below the right costovertebral angle and inflicts a few short thrusts on the flank. In case, the patient feels pain in front of the lower abdomen, and with his/her hand locates the pain, it will be considered as a positive sign. Then predictive value, sensitivity and specificity of the new sign in diagnosing acute appendicitis were assessed. For comparison of the qualitative variables chi-test and for the quantitative variables Hest were employed. The results showed that sensitivity of the new sign is 67%, its specificity is 35%, its negative predictive value is 32% and its positive predictive value is 72%. This new sign here after named (BEHDAD sign) can, along with other signs, helps to diagnose acute appendicitis.

Background and Aim: The hearing defects in deaf and hearing-impaired students also affect their cognitive skills such as memory in addition to communication skills. Hence, the aim of this study was to compare Visual working memory in deaf and hearing-impaired students with that in normal counterparts.Method: In the present study, which was a causal-comparative study using the André Rey test, 30 deaf and 30 hearing-impaired students were compared with 30 students in a normal group, and they were matched based on gender, intelligence, educational grade, and socioeconomic status.Findings: Findings show that there is significant difference between the three groups’ subjects (p<0.05). The average of the normal group was more than that of the other two groups. However, the difference between the two auditory impaired groups was not significant (p>0.05).Conclusion: Function of deaf or hard-of-hearing students in the Visual working memory task was weaker in comparison with the normal counterparts, while the two deaf and hard-of-hearing groups have similar functions. With a better identification and understanding of the factors that affect the development of this cognitive ability, we can offer new methods of teaching and reduce many of the disadvantages of this group of people in the different fields of cognitive science.

Persian painting throughout its history, has always been influenced by Persian literature, and various magnificent works by the themes of epic, lyrical, mystical, moral, etc. In other words, Persian painting owes much of its ideal examples and allegorical themes to literature. The continuous development of Persian painting, rather than the style of Visual painting schools in several centuries, has always been remarkable in its relationship with the literature and use of aesthetic basis and poetic themes. This trend continues till today, and contemporary artists are trying to create works that while having relation with literary tradition, reflect the problems of the contemporary world. In the dialogue with Khayyam's poetry, Hossein Behzad, a contemporary painter, seems to be the first person that illustrated Khayyam's quatrains. Due to the problems and sufferings he endured during his miserable life and the bitter events he faced, he felt closer to Khayyam's quatrains and portrayed the works of this poet in Visual language. But what is unprecedented in these historical relations and distinguishes Behzad's works from other paintings is their subject-affinity with Khayyam's philosophical ideas. Despite Khayyam's questionable ideas that show specific approach to the world and human beings, the painter had nevertheless portrayed them in such a way that his works were direct interpretations of Khayyam's poems. What can be said about the necessity and importance of this study is that while Behzad referring to the past tradition of literary interaction with painting and showing his perception of literary ability in the Visual structure of his paintings, the other artists of his period, separate from traditional literature due to social and cultural conditions of their time, prevalence of re-evaluated thought and the reflection of Western culture and art, in order to create the works in confrontation between tradition and modernity. For this reason, such a case study not only contributes to the Visual deepening of the paintings, but also leads to an aesthetic understanding of the conceptual signs and poetic elements involved in those works. Therefore, this research raises the following question: by using which Visual signs and in what way has Behzad been able to recreate the hidden thematic of Khayyam's poems by Visual language? In order to answer the question of research, first it is tried to explain and interpret the themes and meanings that express the poet's philosophical thought and point of view. Then the Visual and symbolic elements used by the painter in illustrating the poems have been analyzed, and finally the thematic signs of the quatrains and the Visual signs of the paintings are compared in order to clarify how a literary text can be represented in Visual text. Relying on the critique approach, this study tries to put together two literary and Visual texts by discovering thematic and Visual signs, and then analyzes the quality of representing Khayyam's quatrains in Behzad's paintings. Accordingly, the present study is a descriptive-analytical method based on credible electronic-librarian resources to understand about the quality of representing the themes and meanings of Khayyam's poems in Behzad's works. So investigating the thematic signs and their effects on the paintings in the form of Visual signs will lead to a more accurate critic and attractive reading of both poetic and Visual texts. The findings show that however that Khayyam's quatrains are philosophical and reflect existential issues such as astonishing of creation, looking for the mysteries of creation, attending to the unreliability of the world, viewing the world wisely, thinking about death and the enjoyment of life, Hossein Behzad has used two types of signs in his Visual works in dialogue with Khayyam’ s quatrains: 1. Thematic and symbolic signs that illustrate in the paintings in the form of pottery, potter, pottery workshop, soil, water and greenery, old narrator, genius elders, kings, birds, trees, earth mounds Candles, colorful costumes, angels and tormentors, as well as colors such as blue, red, green, black and brown in their special meaning. 2. Visual signs with special Visual representations such as point rhythm, color contrast or the dominance of one color on the space, different narration in the background and background in relation to each other in one work and creating different sensual states in faces and figures. The sum of these signs has led the painter to have tremendous innovations and make possible understanding of the themes and concepts of Khayyam's quatrains in his paintings.

Swastika is an ancient symbol that has appeared in many cultures around the world, but its origin is still obscure. Some believes that it is s sign of the Indo-Europe people, therefore chosen by Hitler as an anti-Sami symbol during WWII. Not only this sacred sign has not an anti-Sami symbol but also not a sign exclusive to the Indo-Europe culture. This sign as we will show in this article is a heavenly sign sacred to all cultures of the northern hemisphere before the migration to Indo-Europe people. Even used in parts of the ancient world which had no contacts with other parts of the worlds. In this article we will introduce the oldest Swastikas and will study its origins.

Background: Increased right ventricle-to-left ventricle (RV/LV) ratio on computed tomography pulmonary angiography (CTPA) has been reported as a poor prognostic indicator in patients with acute pulmonary embolism (PE). It has also been reported that pulmonary vein sign (PVS) on CTPA is a rare finding of PE. Objectives: To evaluate PVS on CTPA and unenhanced magnetic resonance imaging (MRI) in patients with PE suspicion. We also aimed to investigate the relationship between the severity of PE and presence of PVS, RV/LV ratio and combination of these two on unenhanced MRI. Patients and Methods: One-hundred-twelve patients with PE suspicion who underwent CTPA and unenhanced-MRI [steady state free precession (SSFP)] within the first 48-hours constituted the study group. All CTPA images were evaluated for the presence, location and severity of PE by observer-1. Two observers (observer-2 and 3), independently evaluated unenhanced-MR images for the presence of PVS without knowing the results of CTPA. Then, these 2 observers reviewed the CTPA and MRI images together with observer-4 to reach the final consensus for the presence of PVS and measurement of RV/LV ratio. Cohen’ s Kappa analysis was used to assess the agreement between observers. Relationship between the mean PE index and imaging findings (PVS, RV/LV) were calculated. Results: Presence of PVS on CT or MRI is significantly correlated with PE index and patients with PVS had more severe PE than those without. Presence of both PVS and RV/LV ratio > 1 on MRI indicates more severe pulmonary embolism than absence of PVS or RV/LV ratio > 1. There was a very good agreement for the detection of PVS between two observers on unenhanced MRI. Conclusion: PVS on CTPA or unenhanced MRI can be used as a sign of severe PE and it may also be an indicator of right heart dysfunction.