Introduction: Long-term clinical evaluation of dental implants and their surrounding structures is of utmost importance to acquire knowledge about reasons for implant success and failure.However, accurate and reproducible results are difficult to obtain. The aim of the present study was to examine bone height around endosseous implants on digital conventional radiographs (DCR) and direct digital subtraction images (DSI) prior to loading.Materials and methods: In this experimental study, bone height around 10 implants in 6 patients was assessed by 2 observers. Standardized digital radiographs were obtained just a week and 3 months postoperatively and subtracted by means of EMAGO software. Then the observers evaluated bone height on DCRs and DSIs. MINITAB software and paired t-test were used for statistical analysis (a=0.05).Results: Comparative evaluation of bone height indicated significantly higher values on DCR than on DSI (p value=0.002). The observers also had statistically significant variability in this assessment (p value=0.00003).Conclusion: DSI demonstrated lower values of linear measurement of bone height around endosseous implants compared with DCR. Interobserver variability should be considered when comparing values from follow-up studies.

This paper presents the primary benefits digital storytelling affords teachers and students. Maximizing the multimodal authoring conditions for optimal online/offline learning comprises the paper’ s main focus. Throughout, it is asserted that stories worth telling are stories worth sharing but only if embedded in dialogic constructs supporting authentic pursuits. Practical considerations important to understanding digital storytelling and its manifold applications, along with classroom-tested recommendations for digital creations, are then presented, followed by seven pedagogical implications requiring a more focused treatment. It is concluded that students are indeed capable of transforming themselves from passive consumers of technology into active creators of digital compositions, one voice, one story at a time.

Art functions of plants means that the arts have formed with a focus on flowers and plants in Hafez artistically poems. The art of Proper employment of locutionary and rhetorical figures of speech, and indeed as art of employability a literary language by applying tools to display his desired contents. You can find numerous lines, among the Hafez poems that he creates various themes in a cover of the various arts by using flowers and plants. These arts have a special place in the Hafiz high style. With these introductions, we can realize the importance and value of nature vegetarian in the opinion of this famous poet. But Hafez’s art is the poetic language and a roguish trick – that is innate-and he create whit it a lot of humanism, morally and profound learnable concepts those were and still human worry .Hafiz innovative and purpose-built illustrations of natural elements are pretext for creating and nurturing the more great content. And this is the cause of his word prominence and multidimensional poetry, and this has made him transnational and universal. poet.

The base of Aristotle's logics was so strong that for several centuries after him, most of the scholars considered it perfect from different aspects and it governed thoughts and views of other thinkers. Avicenna was the first one who swerved from Aristotle's style in the forming of logics and changed Aristotlian logic from different aspects.Avicenna, besides diminishing some logical issues such as categories, full argument about poetry, rhetoric and dialectic, replaced some issues for example conversion, definition and description and introduced numerous creations in logic science as fallows:1- Changing the logic of nine parts to the logic of to parts.2- Division of conventional literal signifying to three parts, correspondence and implication and commitment.3- Extension and expansion the division of propositions by considering modality and their special order and modern flowing.4- Possibility of the consistency of two absolute propositions with difference in quantity and quality.5- Proportion between definition and essence of definiendum and diminishing of abbreviation order in real definition.6- Needing not the definition and difficulty of procurability to real definition of things.7- Hypotetical attributive syllogism and its different kinds.8- Actual ascertainment addressed attribute for subjects essence in subject fetter.9- Reflexiveness of affirmative necessary proposition in the form of general absolute particular affirmative proposition.

While theologists consider art as a product of imagination and refer to imagination as an independent faculty, Sadra’ s view, which is based on the unity of the soul as the source of all faculties, considers all faculties originating from the soul. Therefore, imagination is a function of the soul and as a result resides in it. Art is the act of soul and attributing it to imagination, which is secondary, can be considered as an act of negligence. The various manifestations of the soul constitute three stages of artistic creation, the highest stage of which is the single, concise and simple stage of the collective existence of the soul. At this stage, artistic creation is one with all the elements of perfection of the soul. Therefore, all bits of knowledge exist in the human soul, and, in this regard, there is no difference between the artist, the sage and the mystic. It is only at the next level, the level of imagination and the external manifestation of the work of art, that the collective unity of the soul is revealed in a particular artistic image.

Although it is usually aesthetic when it comes to fashion and its concept, it is a way of looking at and thinking about certain things, subjects, and objects in a particular time and place within the concept. Fashion itself is a strong reason to place this issue in the context of intellectual property rights. Fashion-related rights (cover-beauty) are considered as one of the most important areas and areas of intellectual property rights that, with their monetization features, have an undoubted role in the flourishing of the industry. And the economies of the countries are playing. In French law, the historical record of fashion protection dates back to 1806, and the discussion of special protection for creations and clothing goods-as one of the most fashionable examples, formally introduced in the country since 1902 Has been. In addition to the adoption of a specific statute in this field after the aforementioned time-frame, pursuant to paragraph 14 of L-112-2 and Fifth Book of Intellectual Property Law (Articles L-511-1 onwards), garment-related products, seasonal industry, Designs and models, as well as cover and beauty creations, are examples of patents on industrial property rights, including patent, trademark, competition law, and industrial design. And. In Iranian law, it is possible to compare legal safeguards in this matter by comparing the rules and regulations governing industrial property and by adopting a common chapter between the rules governing industrial property law. The aforementioned claim is further reinforced when the Iranian legislator, pursuant to Article 4 of the Fashion and Clothing Regulations Act of 2006, produces designs and patterns, textiles and clothing based on Iranian-Islamic symbols, subject to the protection of authors 'and authors' rights and industrial property rights. Simultaneously, put together. Fashion in the word means new taste and new style, but in the term, it is a sudden change in taste of a group of people that results in a tendency to behave in a particular way or to consume a particular commodity or to promote a particular style of life. The term is close to words such as modernity, modernity and modernization. In medieval Europe, these words were avoided and the new and new category was described by the word "New". The new object (phenomenon) was a new one that belonged to the heavenly realm and came from God's creativity and divine creativity. In contrast, the "modern" and "fashion" phenomena belonged to the terrestrial and atrium. Fashion came from the human will for creativity and had a concept close to "innovation" in Islamic culture. But with the de-socialization of European social affairs in the Age of Enlightenment, words such as modern and modern were also sanctified and increasingly popularized. In addition, according to what some French writers have written, fashion can be defined as an aesthetic criterion accepted by a certain segment of society. In some French-language public cultures, fashion is defined as: "Fashion is a certain style and style of life and thinking in a particular period or country or place. " As seen in this definition, in France, the definition of fashion is so broadly expressed that it encompasses even the type and way of thinking of a person at a particular time. Another important point about the above definition is that mention of words such as the particular "period", "country" and "place" brings to mind the relative and temporality of this concept. In France, the concept of fashion has been favored by the French legislature, as well as the formation of intellectual property law in that country, and in addition to legal writing, it has considered fashion as a framework for intellectual property rights protection., Are explicitly protected in the field of patronage in the field of law, seasonal and cosmetic industries including apparel, leather, cosmetics, etc. With the development of the concept of industry, fashion-related creative rights as one of the most important manifestations of intellectual property rights, have their own doctrine and doctrine, and to a considerable extent protected. It has the capacity of legal protection. Fashion-related creations, irrespective of their widespread and varied concept and application, from the aspect of industrial property rights, to French law, as outlined in the legal literature on this subject, within the context of various instances, including design supervisory rights. Models, patents, industrial designs, trade secrets, trademarks, etc. are protected and the provisions of each of the above will apply. In Iranian law as well as in French law, as in French law, and in the interpretation of this discussion, however, there has been little talk of French industrial law, however, with its reliance on the teachings of French industrial property law and comparison. It can be found with the laws of Iran and the Islamic-Iranian criteria, as well as the application of the rules governing each case of industrial property in relation to this subject, the terms and conditions of joint protection of this branch of intellectual property rights.

Article 140 of the Iranian Civil Code is crucial because it defines the scope of possession and ownership. This article specifies several causes of ownership, including obligations, the revival of unused lands, acquisition, preemption, and inheritance. The Civil Code details the regulations for each of these causes. A contemporary issue involves intellectual creations and determining how ownership of intellectual property can be defined in line with these established causes of ownership. This study delves deeply into this issue.Initially, this research conducts a comparative analysis of terms like property, possession, and rights to correctly position emerging topics within the legal framework. It then reviews the perspectives of both jurists and legal scholars. The findings suggest that, firstly, establishing rights and ownership concerning intellectual works can be justified through evidence such as customary practices and the principle of "Taslit" (dominion over property). Secondly, by challenging the restriction of sales to tangible items—a view strongly held by some jurists—and extending it to encompass other forms of transactions, including the sale of benefits and rights, based on the sound narration of Abu Burdah ibn Rajā, it is possible to extend the sale to intellectual works. Additionally, regarding an owner's renunciation of property, guided by Sukkuni’s narration and by broadening the context of this narration, the concept of renunciation can be extended to various types of property, including intellectual creations.

The article discusses the influence of Sufism on literature and the role of poets in spreading the teachings of Sufism. The attitude of the 12th century Azerbaijani poet Khagani Shirvani on the subject of Sufism and his views on this religious and philosophical doctrine are considered. In addition, the poet’ s ideas about the Sufi image were studied, the analysis of the Sufi images he created and, at the same time, the relationship of Khagani to the well-known Sufis in the history of Sufism was investigated. The analysis of the samples taken from the works of Khagani is based on the judgments of the Sufi views of the poet. Attention was paid to Sufi terms and features of their use in Khagani verses. During the study, examples were given of the poetic embodiment of the Sufi symbolism, which were discovered in the works of the poet. The poetic characteristics of Sufi symbolism in the artistic and aesthetic representation of Khagani and the literary and philosophical characteristic of Khagani's works in artistic expressions are of paramount importance. Analyzes and studies allow us to conclude that the ideas of Sufism played the role of a means of expressing the social and philosophical views of many creative people. Despite the fact that he was not just a Sufi poet, Khagani was a creative person with a literary heritage, rich in Sufi ideas. He was fully aware of Sufism, the Sufi way of life, and Sufi terms. As knowing the basic conditions of Sufism, he emphasized the richness of the soul of a creative person, and it can also be noted that he built his recommendations throughout the entire creative way around this very idea. The symbolism of Sufism in the works of Khagani reflects the diversity of meaning and content, artistic and aesthetic content, scientific nature, religious and spiritual problems and thus it can be concluded that from this point of view it is rich in interesting materials for research.

The public domain of copyright which considers the end of protection period, attempts to cause balance among the rights of authors, society and third parties. So at the end of financial rights of author’s protection period the possibility of free utilization of these literary works will be possible. But in this situation one of the controversial difficulties is the nature of these kinds of literary works which, according to some scholars, after belonging to public domain, they will change in to the Allowable. To approve their idea, they focus on common features existing in these literary works (works relating to public domain) and the Allowable. On the other hand it is believed that literary works after belonging to public domain essentially works after belonging to public domain essentially due to lacking of scarcity element are not considered property at all.

Background & Aim: The majority of carious lesions are not well-defined radiolucencies. Approximately 40% demineralization is required for radiographic detection of a lesion. The actual depth of penetration of carious lesion is deeper than may be detected radiographically. However, digital subtraction images permit to detect 1-5% decrease of mineral mass per unit volume. The goal of the present study was to evaluate the accuracy of digital subtraction radiography in the detection of dental demineralization in vitro.Methods & Materials: This study was based on observational-diagnostic method which was done on 30 extracted human teeth, categorized in two groups A and B, each having 15 members. In each of teeth, one approximal enamel demineralization lesion was induced using an acidified system (PH=4.8). Direct digital radiography were obtained under standardized condition of teeth before demineralization. After 7 days, the teeth of group B and after 42 days, group A removed from acid and new radiographs were taken. The images of the 7th and 42nd days were subtracted from the baseline radiograph (before creation of the lesion). Then teeth were histologically evaluated. Direct digital and subtraction images were interpreted by three observers to detect presence or absence of the lesion, then the diagnostic accuracy of both methods was determined.Results: After 7 days, the sensitivity, specificity, accuracy, positive predictive value and negative predictive value for incipient lesions in direct digital radiography were 0%, 80%, 40%, 0% and 44% respectively and in digital subtraction radiography were 66.7%, 86.7%, 76.7%, 83.4% and 72.3% respectively. However after 42 days the sensitivity, specificity and accuracy of both methods were 100%.Conclusion: Digital subtraction radiography has a fairly acceptable accuracy in detection ofthe incipient proximal lesions in comparison with DDR. For moderate proximal lesions DSR has the same accuracy as DDR.