The aim of this study was to investigate the effect of using portulaca oleracea as a source of plant antioxidants for feeding fattening male lambs, on carcass traits, meat quality, and oxidative stability. Twenty-one male lambs with an average weight of 24±1.5 kg and 150±15 days old were fed with one of the experimental rations included a diet without portulaca oleracea as control, a diet containing 7.5%, and a diet containing 15% portulaca oleracea, for 84 days. The muscle (Longissimus dorsi) samplewas used to determine pH, chemical COMPOSITION, colorimetric properties, and oxidative stability of meat. Meat lipid oxidation was determined after 1, 7, and 30 days of refrigerated storage using thiobarbituric acid (TBARS). The use of portulaca oleracea in diets improved meat color characteristics such as L, chroma, and Hue. The highest ash concentration and the lowest meat moisture were observed in the treatment of 15% portulaca oleracea (P<0.05). Meat pH was the lowest in the first hour after slaughter but did not differ at 24 h. Compared to the control, in both treatment groups feeding the lambs with portulaca significantly reduced the concentration of Malondialdehyde in the meat of the lambs and increased the meat oxidative stability (P<0.05). The results of this experiment showed that feeding portulaca oleracea by improving properties such as color and increasing the meat oxidative stability improves meat quality, which may have lead to an increase in its nutritional value in terms of human health.

1. Introduction: Is art created consciously or unconsciously? This question always sparks controversies amongst artists, researchers, philosophers, and psychologists. Nonetheless, as an intricate phenomenon, art demands both consciousness and unconsciousness to come into existence, and manifest attributes of both realms. Poetry is the most prominent artistic form of the ancient world, and to our predecessors, thinkers, Sufis, and poets were educators. Therefore, the vast portion of the ancient literature is didactic, and poetry has been used as a rhetorical devise to effectively convey the poets’ beliefs and instructions to the audience or the readers. Needless to say, didactics requires forethought and conscious thoughts of the educators on what they aim to teach. MASNAVI is amongst the greatest Sufist didactic texts. Surprisingly, some believe that MASNAVI comes from a free stream of consciousness and, as a result, they describe MASNAVI as a chaotic, disorganized and opaque work. Chaotically, he delivers an ordinary tale by means of a chain of semantic and sentimental blocks (Abdul-Hakim, 1977). And sometimes researchers have doubts and offer contradictory observations; … Rumi has surrendered himself to inspiration to see where it gets him. However, this does not imply that Rumi does not engage his conscious thoughts. As he has mastered several levels of knowledge simultaneously, ‘ no task stops Him from doing other tasks’ . The proof is that he returns to speech whenever he wants (Zekavati Gharehguzlu, 2007)....

Considering and analyzing Molana (Rumi)'s MASNAVI through different approaches can be very helpful to understand this great book. The process of composing MASNAVI has been always an interesting subject for Molana researchers and scholars. What is obvious is that Molana has written MASNAVI intuitively but there is a little known about the quality of the process. The present paper attempts to reveal as much as possible of the process of composing MASNAVI by Molana under different titles such as times, addressees, Molana's method, Molana's states, and etc.

Love poet Rumi and Sufism, the mystical realm of wisdom and profundity of the moment of union. The audience capacity and can greatly benefit from the secrets of his poems. Although in place and literal meaning Rumi notes that after only a tool meant to deliver, but the use of literary techniques which can dramatically raise the audience stunned. This paper is Rumi in the art of making the pun. Rumi is followed by a short musical puns in his speech to highlight. The characters and dialogue and makes it sound so beautiful instrumental music he would play Creating substantial exquisite array at the end. In place of the great poet of the pun and rhyme are used. Maulana according to the following titles of literary techniques such as ink and Pun Pun line is studied. Rumi has led to the pun expression Qvafy Rumi's letters to unity is inevitably bound; The music is poetry in the service of the music.It would have been different Bjhat the most important words and rhetoric arouse the attention of the audience and the beautiful face of language.

MASNAVI is one of the greatest works of mystical, though and literature in Persian language which is known in the East and West. Many scientists and philosophers and poets of the world are eager to study MASNAVI and some of them wrote a description and critique about the MASNAVI. Traditionally in Iran, Dervishes and mystics and exponents in Persian, have solidarity the MASNAVI and follows that. Some writers in articles and books to introduce the MASNAVI are described, have.But is ever someone independent to look at this issue is not that what Rumi’s MASNAVI the MASNAVI have. In this paper, as you know and have dealt whit this anatomical what is the position of the valve MASNAVI the MASNAVI. The six books in the MASNAVI, Rumi direct and indirect has learned from the MASNAVI which we have covered in this paper to describe the verses and introductions.

In some point of view, neither Michel Foucault nor Ibn Khaldun are considered philosophers in the conventional classifications, but both are very  important in intellectual and, of course, in philosophical contexts, especially for those who are interested in the deep study of human life from the perspective of political thought.The main concern of two thinkers, one in the 14th century, the other in the 20th century, is the issue  of power, although neither of them provided a precise definition of it. In this article, an attempt has been made to show the place of power and domination in the political thought of both thinkers by examining the thoughts of two thinkers. And in search of an answer to this question, how did Asabiyyah and industry of religion in Ibn Khaldun's thought and social control through self-technology and discipline in Foucault's thought lead to the expansion of the domination of power? This article is written by analytically comparing the opinions of two thinkers based on Ibn Khaldun's most important book called Muqaddimah and Foucault's late works

To date, no experimental investigations utilizing petrographic, XRF, ICP, or TL methodologies have been undertaken for the analysis of Sasanian and Early Islamic pottery in Western Iran. Consequently, the findings of this study are anticipated to contribute valuable insights into the pottery production processes prevalent during this historical period in Western Iran. To achieve this objective, eight pottery specimens retrieved from the excavations of the Jahangir monument were submitted to the Research Institute of Cultural Heritage and the Geological Survey for petrographic analysis, while two samples each were designated for XRF, ICP, and thermoluminescence assessments. The primary research inquiries pertain to elucidating the COMPOSITION and structure of the pottery, determining the firing intensity in the kiln, and discerning whether the pottery is of indigenous or imported origin. The outcomes of the experiments indicate the presence of three predominant compounds—quartz, iron oxide, and calcite—in the majority of samples procured from the Jahangir monument. Nonetheless, certain pottery specimens incorporate mica particles or chert stone in the clay COMPOSITION. With few exceptions, the pottery is ascertained to be domestically manufactured, denoting its local provenance within the region. The texture of the selected pottery samples is characterized as silty, porphyritic, and inhomogeneously silty. The identification of calcite in the clay of all Jahangir pottery suggests a maximum kiln temperature of 800°C during the firing process. Furthermore, notwithstanding a limited number of exceptions, the scarcity of soil variations in the majority of pottery specimens implies a shared geographical origin

Rumi's neology ability is unparalleled, as some evidence of which is demonstrated in this paper. In this study, we investigate Rumi’ s coinage, focusing on compound words. Using an analytical-descriptive approach, we studied every verse in three books of MASNAVI, identifying all original coinages and novel constructions. To make sure that the identified words were unprecedented and true coinages, they were searched in dictionaries and other databases. Rumi's word coinage has already attracted some scholars’ attention (see Zarrinkoob, 1383; Sotoudeh, 1376). Hassani Ranjbar and Al-Sadat (1395) examined Rumi’ s use of creative lexical units. Similarly, Maryam Blori theorized lexical innovations in Rumi’ s work. compounding is the main coinage strategy used by Rumi. Likewise, it is the most frequent word-formation process in Persian, as more than 70% of new words created by the Iranian Language Academy are created using compounding (Tabatabyi, 1386). Therefore, this area merits further research. The two most common lexical compounds in Persian lexical bundles combining two nouns or a noun with an adjective. Some of Rumi's coined lexical compounds are as follows: "Chonibakhsh", "Omidlis", "Fanaja", "Stiz Fel", "Abandish", "Saqr Parvardgan", "Soleimanikon". Concerning the latter type, the compound noun-adjective construction is formed by combining a variable component (adjective) and a fixed component (noun). These combinations are very generative and diverse, in the sense that they can be drawn upon to create further similar lexical units. The structure of this type of compound is as follows: Variable word (adjective) + fixed word (Kish) =: Composite adjective: ⇒ Andishekish (Rumi, 1373: Volume 4 / 765) Variable word (noun) + Fixed word (objective adjective) =Composite adjective: ⇒ "Narzadeh"(Rumi, 1377: 603) Variable word (noun/ prefix/ adjective) + Fixed word (noun here Del+ Plural sign) =Plural adjective⇒ Sagdelan (Rumi, Volume 2, 405( The variable word (noun, adjective) + the fixed word (the root of the verb plus the infinitive) = infinitive⇒ Eshghparvari. (Rumi, 1998: 730) Variable word (noun) + Fixed word (noun) =Composite adjective⇒ Sabrkho (Rumi, 1373: Volume 3/1850) Variable word (noun) + Fixed word (Angiz/ adjectives) = Composite adjective⇒ Zafarangiz (Rumi, 1373: Volume 1/3989) Variable word (noun) + Fixed word (Afkan The immutable component of the verb) = Composite adjective⇒ Kesadafkan (same, Volume4 / 1095) Variable word (adjective / noun) +Fixed word )Row + component of the verb)= Compound adjective ⇒ Eshghamizrow ((same, Volume1 / 768) Descriptive and additional combinations are another important compounding element in Rumi's works. Here are some of the rare COMPOSITIONs of MASNAVI: "Hayatistan Bichun", "Chunibakhsh", "Shir-e-Saidavardehi" and "Hasti Bal-Ashkan", "Balayayat" (Balayat To), "Dig-e Dolatba", . . The important conclusion to draw from the findings is Persian has rich potential for generating new lexical units utilizing its already existing repertoire of words. Given Rumi's orientation towards Sufism and his need to express mystical concepts, he took proper advantage of this potential of Persian. Some unique contributions of this study are as follows. The derived lexical coinages are discussed here for the first time. Secondary, in terms of rhetoric, Rumi's coining strategies are diverse. He may create a noun or a gerund from a preposition or use an adjective in an object position. Occasionally, Rumi builds a new lexical compound by dropping a connective letter or creating a gerund or an adjective from certain nouns. Finally, he may at times use a locative suffix with a content word, clip a noun phrase or and create a gerund from an adjective.

One of the most frequent rules in various areas of demonstrative jurisprudence of Two Major Sects of Islam religion is a rule that is known among Shīʿa as “tolerance in the evidence of traditions” (Arabic: التسامح فی أدلّة السنن) and in Sunnī as “latitudinarianism in documents” (Arabic: التساهل فی أسانید). Believers in the general application of this rule have based it for reasons such as consensus (Arabic: إجماع), tradition famous through practice (Arabic: الشهرة العملیّة), and rational judgement (intellectual judgement) and a group of aḥādīth (Arabic: أحادیث, plural form for ḥadīth, literally “talk” or “discourse”) called “Akhbar-e- Man Balagh” (Arabic: أخبار من بلغ). The understanding of the aforementioned narrations and the extent of application of this rule has caused a conflict of opinions among scholars. The narrations containing the excellences of suras of the Holy Book of Quran is one of the fields of application of the rule of tolerance. The present research has explained the types of exposure to this group of narrations based on the rule of tolerance by using descriptive-exploratory method and using library sources and seeks to find a suitable approach about narrations of the excellences of suras (chapters) of the Holy Book of Quran. The interaction with these narrations is organized based on a special reading of the rule of tolerance in the selected approach, which is based on a rational interpretation of the contents of Man-Balagh (Arabic: من بلغ)’s narrations and is compatible with the indications of some verses and traditions. The use of weak narrations containing the excellences of suras (chapters) will be permissible based on this approach considering three conditions and without any certainty of attributing these narrations to Sharʿ (Islamic rules).