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Abstract:
Relying on the dramatic effects and all cultural potentials of Iranian old and poular literature, this paper aims to deal with the possibilities to contemporarize them for new media productions. Literature is one of the most prominent icons of Iranian rich culture. A notable part of Iranian literature is composed of folklores and popular narratives, which are genuinely full of novel themes and authenticated knowledge to be adapted into film and TV series. The present research will show why exactly Iranian contemporary film-makers and play writers, despite the existing large culrual legacy, have failed so far to apply the potential capabilities. Using a pathological approach to the historical discontinuities happened during the evolution of dramatic functions of Persian old narratives, this study attempts to present a qualitative assessment of these literary art works. After reconsidering the most significant elements of Iranian popular narratives, the paper goes then to propund some common ignored challenges concerning the "adaptation" techniques for media productions. Finally, we would describe a typical narrative of Iranian folklore by which a practical method for new possible adaptation for Iranian TV drama might be provided.

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  One of the most important characteristics of Iranian paintings is their connection and unity with Persian literature, which resulted in the formation of common language and similar subjects in these two art fields. However, since the Zands Dynasty, especially their late era, a certain divergence occurred between painting and poetry due to the weakness of literature and the fact that the painters were more influenced by the European art. While focusing on the benchmarks of the poems of the return era, and the Royal Court portrait paintings, this study strives to examine the common aesthetic connection between these two fields of art through performing historical, descriptive, analytical and comparative study, and achieve the response to this question that Which factors were effective in the formation and flourishing of the literature and painting during the reign of Fath Ali Shah Qajar and how and to what extent are their common aesthetic links? The painting and poetry of this era managed to achieve flourishing thanks to the supports granted by an art-lover king, i.e. Fath Ali Shah Qajar. Due to the policies of the Shah during his 37-year reign against the arts, a suitable basis was provided for the alignment of these two fields of art in a new and different manner (notwithstanding the occurred divergence) so that the painters act independently in choosing their subjects, and do not refer to poetry so often, while trying to take benefit from poetical descriptions and literature aesthetic criteria, and represent the same through a human-oriented vision.

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Qajar wall painting includes different fields and works dispersed in various locations such as royal buildings, private houses, public places and holy shrines under the dynastic rubrics, epic, sensual and religious contexts. Religious murals in shrines and tombs, especially those depicting Prophet Mohammad's Mi’raj are among the ones which could be seen in such places.
Mi’raj has been described as both a physical and spiritual journey. A brief sketch of the story is in surah al-Isra of the Quran and other details come from the hadith, which are collections of the reports, teachings, deeds and sayings of Muhammad. In the Isra, Muhammad traveled on the steed Buraq to "the farthest mosque". Traditionally, later Muslims identified the mosque as a location in the physical world, the Al-Aqsa Mosque in Jerusalem. At the mosque, Muhammad led other prophets in prayer. He then ascended to heaven in the Mi'raj journey where Prophet Muhammad spoke to God. The remembrance of this journey is one of the most significant events in the Islamic calendar. Due to the significance of this event, it has been manifested in the realm of art from days of yore.
Although we can find different stages of this historical-religious event in the works of lithography and miniature, not many of them have been studied in the field of wall painting and popular arts. Having
examined such works of art, some questions are proposed as follows: firstly, what are the structural and aesthetic elements in these religious wall paintings? Secondly, how these elements are depicted and what similarities and differences do they share with works of lithography and miniature? The results of this research done in analytic and comparative methodology reveal that these wall paintings are more, in term of quantity, distributed in northern provinces of Iran and the scenes related to "visiting the lion" prevail as a result of Shiite beliefs. But the illustrated scenes and stages in lithography and miniature are more diverse including different events. Of other things we should note and compare in here are the execution and decoration of works besides the style of depicting the elements, their colors and sizes as well as the background of each medium and some other slight differences.
As to the differences of artworks in these three artistic media, we should mention that in works of miniature and lithography, there are more stages and episodes to be seen. Furthermore, due to the technical and expressive capacities of each medium, there are more figures and details in miniature in compare to those of lithography and on the other hand, more ones in lithography than wall painting. But as to the similarities, there some points to be noted. The central position of the Prophet and his praising of God during the journey of Mi’raj, the adaptability of the clothes and other elements with the features of the era in which paintings have been executed, and lack of perspective as well as depiction of the climax of the story with somewhat epic aspects are all among the similarities in each of the works of the three fields.

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In recent decades, the new technologies have been thoroughly discussed to have great impacts on growth in economics literature. This study is aiming at investigating the impact of ICT and social welfare on economic growth. For this purpose, cross-provincial estimation was used by panel data from 2002 to 2006. The variables which are used in this research are per capita GDP, age indicator ICT investment, human capital and pe capita physical investment. The results show that social welfare and ICT have a positive and significant impact on economic growth in all provinces of the country.  

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In this study, application of Adaptive Neuro-Fuzzy Inference System (ANFIS) in forecasting three perspectives (1, 2, and 4 years) ahead of Iran’s agricultural products export was compared with ARIMA as the most common econometrics linear forecasting method. For this purpose, Iran’s agricultural products export revenues related to 1959-2010, and forecast performance measures such as R², MAD, and RMSE were used. Results of the models performance evaluation showed that the forecasted test data related to ANFIS designed architects had more correspondence with the real data in comparison with that of ARIMA forecasted out of sample data. Therefore, the non-linear ANFIS model outperformed the linear ARIMA model for all of the considered perspectives. 

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In recent decades, due to the importance of future values of macroeconomic variables, a range of predicting methods and models has been studied and evaluated. The main purpose of this paper is to compare different methods of predicting Iran's economic growth using seasonal time series data during 1990-2017. To this end, economic growth is predicted using dynamic model averaging (DMA), dynamic model selection (DMS), BMA, BVAR, TVP and AR models in three prediction horizons (one, four and eight seasons). The models used in this study are categorized into three spectra, large-scale (including 112 variables in nine factor blocks), average-scale (including 10 variables) and univariate models. The results show that the predictions of DMS and DMA are more efficient than other traditional prediction. 

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Films are generally more attractive than other forms of TV shows. Such attractiveness can be enhanced through Steerable plots where the audiences act not merely as passive spectators, but rather as active participants. The production of an interactive film requires a narrative structure based on which the plot can be written and expanded. This paper attempted to investigate and propose a new engaging narrative structural model that can be used in TV shows. Moreover, the new model can bring about cost-effectiveness for producers and filmmakers, while enabling the audience to actively create a narrative, switching from one narrative line to another. A successful medium outlet in this competitive arena tends to attract a wider range of audience, leaving a far greater impact on the audience. This is in contrast to ordinary films entailing only one theme and effect. Dubbed as interactive narrative, the newly proposed model can both influence every narrative line and the viewer, which was called a hyper-structure impact in this paper. The final section will explore the experience of producing an interactive short film based on the newly proposed model.

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Shifting from collectivism to individualism has changed pleasure types along time and created a generation gap in Iran. So, how can the post-colonial design mix positive aspects of old collective and new individualist pleasure as a cultural builder and catalyst for change? The purpose of this research is finding culture-oriented pleasure which can decrease generation gap and make a more peaceful pleasurable experience for both collectivists and individualists. We suggested a counterpoint instead of the hegemony of collectivism or individualism. For decreasing the generation gap we proposed: Applying behavioral design for promoting and reviving socio-pleasure among young and old people; balancing between psychological pleasure (with respect to the other's choice, creativity and diversity (Individualism)) and normative pleasures (with respect to unanimous ethnic and cultural norms (collectivism)). As a suggestion “Safa” can introduce a culture-oriented pleasure which may satisfy both sides. It means hedonism, pleasure, calm, change hatred to love, honesty, treatment, purity, enlightening, sublime, and also sympathy, friendship, sincerity and unification of spirits. Safa refundable in different forms of Iranian arts, artifacts, texts, proverbs and behaviors and can be defined as a positive cultural design approach.

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Bertolt Brecht wanted the theater to become a forum for dialogue rather than a platform for delusions, and to develop a new concept of theater creativity known as "Westernization" or "APEC Theater" which aims to stimulate the cash circle in the spectator's mind. This concept is based on the idea of "making what is strange" and this turns it into a poetic act. Brecht intended, from this concept, to extract emotion from theatrical production and to distance the viewer from the characters of the play and the actors' departure from their roles, and then the truth becomes easier to understand. Asghar Farhadi is considered one of the most important Iranian film directors, and he is one of the few who owns a style of their own, and The Salesman  is one of his most important films as we in this article seek to show the way this film took in order to find positive and interactive viewers through two main axes: characters and their conversations as well as direction. Here we can see the way the audience is formed. By extrapolating this film with the opinions of Brecht, and the reasons for the influence of the film "Froshendeh" or Salesman, on the audience, it will be analyzed through the concept of divergence and identification. It seems that Farhadi like Brecht uses the same indirect methods, to reach effective and active viewer and forcing the audience to think. But, of course, Farhadi's style does not contradict the audience's identification with the characters of the film, in addition to creating a special and modern type of divergence in his own way through camera movements, decoration, decoupage, film framing, and narrative. Because in the present era with ordinary subjects and a normal treatment of the story, this does not force the viewer to think.  
 

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 Given the importance of the historical context in the Iranian city of Mashhad and acts of sabotage, identifying, preserving, recording, and maintaining its historic facades is important. This study aims to investigate the ornamentations of Paein Khiaban’s historic facades of the Qajar period (1304-1174) (which have been inscribed as Iran’s cultural heritage). The methodology of this study is based on descriptive-analytical, exploratory, library studies, and field research. The results show that all buildings are two-story and ornamentations often seen on the upper part of the facade. In terms of ornamentation, in most of the façades, the moarragh mosaic tile or combination of tiles and bricks were used. Furthermore, some opening inscriptions are decorated with moarragh mosaic tile, too. All of these facades are made of brick and the dominant colours of the facade’ ornamentations are brown, yellow, Ultramarine and turquoise blue, lateritious and sometimes pink and white.
 

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As a result of introducing European art to traditional Persian painting, the multidimensional space of the traditional Persian painting tended to linear space. In other words, the Persian painting based on the positional perspective created a multi-dimensional space and another method based on linear perspective was done to create a temporal and spatial unity. The confrontation between the two methods remained challenging until the present day. Contemporary artists have used tricks to resolve that challenge, one by using new media as a modified version of the old medium. In this regard, animation as an up-to-date medium has been able to develop the traditional Persian painting narrative and aesthetic capabilities by visually adapting them. But the question that arises is what features should this type of animation have? Or what changes does the traditional Persian painting require in connection with the field of moving pictures? This research attempts to examine the principles and visual characteristics of two media, and the main goal is determining the scope of necessary changes in the traditional Persian painting based on the aesthetics of animation. Hence, it examines how this was done in "Hazar Afsan- Kerm Haftavad" as one of the new animation productions.