APPROPRIATION is one of the sub-categories in (Arabic) syntax and rhetorics. It has specific precepts within Arabic syntax. In the books on rhetorics, it is usually discussed in the figurative senses of vocative case under the category or non-indication. In rhetorics, APPROPRIATION means limiting a thing or an action in a person or restricting someone or something to something or some action. Its usage in Arabic and Persian Language differs. In this article, the method of its usage in Persian Language, its instances and implications are discussed.

This article, “History, Adaptation and APPROPRIATION in Cinema”, based on descriptive and analytical approach, tries to clarify new less known theoretical perspectives towards history, narrative and adaptation. The importance of the issue is intensified by the increased number of films adapted from historical texts. In other words, history texts have always been a source for film production, especially historical film that form a considerable film genre. Although, already there are some published books on the subject of film adaptation, they have been, however, rather focused on practical aspects than theoretical frameworks. The same is true about dramaturgy as treated in most of theatrical books and journals. In the first section of this paper, action of adaptation, kinds of adaptation, action of APPROPRIATION and its relation to the action of adaptation are explained. Furthermore, the relation of the action of adaptation and such issues as literary theft are more developed and discovered. Exploring different aspects of the action of APPROPRIATION, new metaphors are introduced which explain the action more thoroughly. Another topic discussed in this section, based on Robert Stam’s concepts of adaptation, deals with the impact of new metaphors on the theory of adaptation. This article also borrows many ideas from Julie Sanders’s famous book Adaptation and APPROPRIATION which deals exclusively with the issues of adaptation and APPROPRIATION in films adapted from literary and history texts. The final part of this section explores the relations between Darwinian world, evolution process, and the world of adaptation. Second section of the article deals with the relation between history and narrative, and the relation of history texts to cinematic or literary adaptations. The main topics of this section include: new developments in the theories of history, their impact on the field of adaptation, fidelity to the history, and originality of historical narratives. It is argued that in a historical drama, the very history text could be considered as the main source of the narrative. Reacting towards this kind of historical drama, however, some history scholars try to measure the drama against its degree of fidelity to the historical facts, by establishing a kind of historical determinacy as the evaluation criteria in appraising such adapted works. One of the most controversial issues in this field – the issue of fidelity – is the topic of the third section of this paper. Other topics dealt with here include: the (im) possibility of fidelity in the action of adaptation, the effects of such theoretical approaches as structuralism and post structuralism, originality and its discourse, and the impact of digital media and new technologies on the theory of adaptation. Also, Gadamer’s notion of “fusion of cultural horizons” is deployed as a means to explain the process of adapting historical texts into films. Furthermore, such important issues as intertextuality between historical text and cinematic adaptation, and the interaction through fusion of cultural horizons, are explained. Some of the other topics discussed here are: the impact of theoretical turns of history theory and adaptation theory on film adaptation, and evaluation of such cinematic adaptations.

The present paper attempts to explore the issue of representation by focusing on two major translations of Persian poetry and literature, one produced in mid 19th century and the other produced in late 2th century. The First part is devoted to Edward Fitzgerald's so-called translation of Khayyam's Rubaiyat, and his strategies of APPROPRIATION, which range from adding new verses and quatrains of his own to the Rubaiyat, to alteration of symbols and images, and exclusion of significant cultural elements, all of which have transformed Khayyam into a Western poet-philosopher. The second port briefly discusses the rather recent translations of Rumi's works by Coleman Barks, who seems to be following the same path as Fitzgerald after more than a century, and somehow contributing to a rather similar representation of Persian literature. It further concludes that Western image of Persian literature produced over time still persists, and defines translation within the some old framework of power relations rather than literary exchange.

Image creation is a well-recognized mean of communication. Nowadays, the method of creation has changed to other communication forms, different from previous ages. With the flourishing of economies, the image creation moved towards ad illustration which itself evolved into an art form of the globalization age. This art is based on referring functions because the use of references is inevitable for accelerating the message sending process. In addition, the postmodern age aims to use exophoric references and references to other works are considered intertexual, which justifies its use. On this basis, it seems that it matches the concept of APPROPRIATION in art (accordingly, the definitions of the originality and nobility also change) because making use of others peoples’ works, completely or partially, is in fact a reference to audiences’ implications. On one hand, communications, as the contemporary visual language influenced by the globalization process, makes use of the references in expressions such as commercial ads in a way that it is seemingly speaking about their fundamentals using the intertexual relations and thus opens up to new horizons to identify and criticize these illustrations; since it both refers to the presence of other works in novel ones and also affirms the element of co-presence. Therefore, art APPROPRIATION is investigated through providing a definition of the commercial ads and originality areas as well as piracy. The paper at hand is theoretical and fundamental in terms of the methodology, using descriptive-analytic approach. The required data was collected through desk study of library resources and note taking. A purposeful sampling of images was conducted which, through a comparative approach, explains the view that the illustration art in commercial ads is a perfect example of referencing samples and APPROPRIATION in commercial ads are comparable to two general categories of intertexuality, each comprising of three sections (the imitation category such as pastiche, charge and forgery; and the transformation category like parody, travestissement and transposition). The results indicate that creation of works based on pastiche, is the re-creation of the work in commercial ads illustration and its real manifestation appears in violating the copyright law. Parody is a change in preconceptions and imitation and in commercial ads, the work is used to express and convey a new concept through changing others peoples’ works and accepting the changes. Charge is the exaggeration in previous works made by creating a satiric atmosphere in advertisement field. Exaggerating and radical imitation is travestissement where in ads; earlier works are destroyed in order to create new ones. Forgery is a form of imitation which believes in the use of other works based on the similarities of the two forms where either a template is a means of sustainability of the other works or is itself a sustainable template, complementing earlier works and can be compared to serial advertisement strategy in commercial ads. Moreover, transposition is an adapted concept of earlier works where the changes made are serious where semiotic references evoke previous works that in commercial ads, they emerge in semiotic examples of ads using a semiotic reference. The findings confirm that the art of producing commercial ads frequently makes use of referencing procedures and through this, shatters the holiness of the artwork into pieces in technology and information world. With its postmodern taste (the inclination of contemporary works is not the product of an artist’ s original thought, but it is of a referencing function and the works’ ambience, is composed of an infinite number of potential relations and connections), it matches the ways of the present age, justifies the originality of artwork based on common criticism theories of the time which are acceptable as the representative of art in contemporary age.

It is often thought that APPROPRIATION art doesn’ t give rise to its traditional concept and place. Because there are secondary works in the world of visual arts that are taken from the original works. From a legal point of view despite their uniqueness, definite and certain material existence of these works, the situa tion of the author is not very clear. “ How can be explained the authorship relations be tween the artist and his work in a work that a part of it (sometimes the whole work) has appropriated from another artist? ” It is assumed that in all APPROPRIATION works the viewer and author are aware about the presence of the first creator in that art work. This study is descriptive-compar ative and interdisciplinary analysis. The research data are taken from the fields of contemporary arts, structuralism, intertex tuality, and intellectual rights, and have been extracted and collected in the form of libraries and documents, and through the tools of taking notes and observing relevant sources and references. In this regard, exceptions of international legal systems and Intellectual property rights in Iran. At the end, some suggestions includ ing preparing an art certificate has made to evaluate these types of works.

1. INTRODUCTION Protecting local culture has expanded in different forms in contemporary literature and has developed a new literary genre called postcolonial literature. Indigenization of English language and its APPROPRIATION with language and culture of the former colonial countries is one of the characteristics of postcolonial writing that immigrant authors also enjoy in writing from their experiences in diaspora and transferring their local culture which results in linguistic creativities. One of these creativities is APPROPRIATION which is an important component of Postcolonial studies. It is a process which reconstitutes the language of the center to express the ‘ differing cultural experiences’ (Ashcroft et al, 2002, p. 38). It seizes the language of the center and replaces it in ‘ a discourse fully adapted to the colonized place’ (p. 37). Zabus (2007) also considers APPROPRIATION as conscious strategies of decolonization where ‘ writing with an accent’ serves to convey ideological variance. Sometimes the English language is unconsciously appropriated by the non-native users. Joseph (2006) believed that a language undergoes a change because of the interference of mother tongue with its inherent resistance. Thus, when a writer from a non-native country would produce something in English, there must be some changes under the influence of their mother tongue. 2. METHOD There are different strategies of APPROPRIATION that result in varieties of English language. Some postcolonial writers mixed the linguistic structures of two languages making an ‘ inter-culture’ (as cited in Ashcroft et al, 2002, p. 66). Kachru (1983) and Ashcroft et al. (2002) identify at least nine language APPROPRIATION strategies: The first strategy in APPROPRIATION technique is termed as glossing, it is an explanatory comment affixed to a text. It can be a word, a sentence, or a clause, characterizing the non-English word. The second strategy is the incorporation of untranslated words or leaving words un-glossed, it aims to keep the cultural uniqueness intact. The third one is termed as syntactic fusion, which is the amalgamation of two different linguistic structures, resulting in mixing the syntax of native language with the lexical forms of English, or vice versa. Fourthly, the usage of translation equivalence permits the writer to incorporate the local opinions and insights into a foreign language. In lexical innovation the words are borrowed from local languages and incorporated into the new English. The post-colonial writers use it as a means to describe new experiences, sounds and tastes they come across. Contextual redefinition provides a way to introduce new vocabulary words. The author adopts a new context that is too remote from the English-speaking world to have the same definitions for all the terms. Inter language strategy refers to the entrance of texts, rhythms or sounds related to the writers` mother tongue to the postcolonial writing which shows his/her creativity and interest to the mother tongue. Rhetoric and functional style APPROPRIATION strategy deals with changing in different text types and finally, code switching is the technique of moving between two or more codes to bring variation in the ways of expression. Considering the important role of the linguistic APPROPRIATION strategy in producing postcolonial literature, this descriptive-analytical study was done in accordance with Kachru (1983) and Ashcroft et al. (2002) framework on postcolonial writing, with an aim of looking for elaboration of linguistic APPROPRIATIONs in the English series of stories Laughing without Accent by Jzayeri Duma and its translation by Mo`takef. Duma is an Iranian immigrant writer who has already published two successful series of stories in America which have been translated into different languages all around the world and they have been translated into Persian too. In her stories, Duma depicted her Persian family life in America for the American readers and helped them to know about the minority of Iranian immigrants living in America through her lens of humorous writing. 3. RESULTS Studying Duma`s series, this study looked for answering the following questions: can the English text of the stories be analyzed from a postcolonial point of view according to linguistic APPROPRIATION theory? What strategies did the author use to make linguistic APPROPRIATIONs and create a postcolonial work? Were the linguistic APPROPRIATIONs transferred to Persian translation of the stories too? The results of the study showed that the author used glossing, un-translated words, contextual redefinition and inter language and code-switching APPROPRIATION strategies in her stories and created a postcolonial text. This study also showed that some of these strategies like glossing and inter language APPROPRIATIONs were left in the translation of the stories, but the rest of them were not transferred and faded away in the process of translation. Inter-language APPROPRIATIONs entered the English pronunciation of the words and glossing made some cultural elements of English language enter the Persian text.

The uncertainty in connection status of distributed generation and network structure complicates the adjustment of the overcurrent relays in distributing network. With the increase in number of modes of operation, the investigation area faces limitations and becomes even pointless, making it almost impossible to reach a unified host of setting applicable for all possible modes. Yet, the conditional situations could be overlooked and the investigation could be objective-oriented once the differential protection is maintained and the faults are taken care of instantly. The differential protections must be installed with the minimum number and in the proper places so that the incompatible conditions would be eliminated. As such, a new approach based on additional methods with regard to the nature of differential protection and its impact on identifying incompatible conditions is recommended. The outcome of such approach is a set of candid lines for installing the differential protections and thus the convergence of protective coordination of overcurrent relays. This approach has been simulated for the ringed distributed active network and, as the outcome reveals, the recommended approach with the proper placement of differential protections along with the unified setting for all relays makes the constant protection coordination possible.