It’ s about more than 3 thousand years that the Iranians have celebrated “ Yald” in 21th December. This day is celebrated in the Christian world at the birth of Christ, which was changed to December 25th in the fourth century AD due to the mistake of calculating leap years. Many churches throughout Europe have been marked by many signs of Mithraism in the early centuries of Christianity. For the church, Mithraism was intrusive, and its memorials from the Roman Empire show that it is welcoming and gratifying among the people. Clergies have tried a lot to vanish Mithraism. So by their attempts, Mithraism was a forgotten name for a long period in Europe, and even in the 15th and 16th centuries, archeologists considered Mithraism memorials as a symbol of mythical gods and heroes of Rome. But in recent years, by studying the Scriptures, there are many similarities between the symbolic characteristics of this religion and Christianity. The influence of the Mihr on the Western lands and the survival of its origins in Christianity, as well as its survival as pictorial Symbols that are repeated or re-established in the next period, have confirmed the adoption of firm foundations of Mithraism, which has been able to accept changes in Concepts but preserve several characters such as Symbols, shapes, or vice versa, by preserving concepts and changing its manifestation such as form and manner, survive to the present time as a one of most popular religion in early Christianity. This led officiates to acquire the manifestations of Mithraism and entering them into Christianity, in order to gather followers and attract fans towards themselves through capturing the appearance of Mithraism, and sometimes even by adding some of concepts of this popular rite such as the "Prophet of Peace and kindness and the Savior". This article deals with this question: what are the common symbolic features of Christianity? It was concluded that the commonality of these two religions is not only in the symbolic appearances, which is also often found in the basic concepts and paths of conduct. Moreover, we could result that in a specific period of time these tow religions could attract a lot of people due to the promising and at the same time kind character, which could help suffering peoples and soothe their pains. In this regard, the descriptive-analytical method and the library and observational method are used.

The use of historical Symbols in the modern Arabic poetry is one of the important techniques which positively affected Palestinian poetic expressions and experiences. This technique entailed the poet with the artistic skills and inspiration. By using this method the poet avoids superficial and oration of the poetical words. Ultimately utilization of historical Symbols leads to enrichment of poetic experiences. Palestinian poets according to their tragic experiences applied historical Symbols to explain their emotions against their occupied homeland. The use of historic Symbols was an instrument they applied to show their resistance against the occupiers. They exploded personal and social awareness according to the similarities which exist between historical Symbols and present Palestinian conditions. This investigation applying the descriptive – analytic method deals with the historical Symbols which have been used by Palestinian poets since 1967 until 2012.

The hiring symbol in the modern poem is said as a common feature among the majority of poets on the varying levels of code where the simple to the profound. Thus although the code or coding in literature in general characteristic stylistic and one of the elements of the literary text the substantive since ancient times, but we see it has the diversity and depth controlled the language of the modern poem and their structures and forms and their structures different. On this track recorded Technology icon significant presence and active in poetry poets Palestine General and hair (Lutfi Zaghlul) private; because of its ability to guide ideas and deepen the artistic vision and enrich the text and enriched conceived dimension expressive of the dimensions of his experience in the struggle against the Zionist occupier. reading of quiet and informed consent in the experience, “Lutfi Zaghlul” poetic and represented yet ten collections of poetry reveal quite clearly the depth and credibility of this experience, as guide us to the suffering of the rustic poet, from its early beginnings, the concerns of his people and his nation's issues to some extent and issues. This search through the analytical approach Altosfa going to answer questions and interact with the put forth: First: “what is the symbol” and its effectiveness in the poetic text Palestinian.Second: What are the Symbols in the recalled poetic text “Zagluli” and the extent of their impact in the generation of semantic suggestive that serve the Palestinian cause.

Introduction: Iranian ancient cities demonstrated the cultural features and social organisation of their inhabitants in the most convenient manner. This would mean that people could infer the role and function of buildings in these cities, just by looking at their façades and the walls on the two sides of streets and public pathways. In fact, the architectures and urban developers used special Symbols and signs, when constructing private, public and governmental buildings that helped revealing the function and use of these units at the first sight. Thus, all visible components of old cities communicated with the pedestrians introducing their function, and providing information on beliefs and even social rank of their owners. Modern cities’ view, however, lack such capability, despite the immense progress in the communication sciences. In other words, external appearance of the elements of newly built cities does not reflect their inhabitants’ identity and it seems that there has been no informed and targeted effort towards implicating such features. By development of modern cities, most of Symbols and signs of cultural identity, embedded in their old structures, have either completely perished or faded in such a way that are not distinguishable anymore. Presently, the appliance of cultural Symbols on the face of few buildings can be considered as individual efforts of some employers and architects. However, the usage of these Symbols can sometimes be a disproportionate imitation of forms, patterns and pictures of ancient world, and therefore, cannot illuminate a Meaningful picture in the observer’s thoughts. If one could consider the urban spaces as the arena of emanation of nations’ cultures and histories, it should then be accepted that what is currently occurring in Iranian cities is a kind of deviation from the rich cultural and ancient values of the habitants of this land, which is in essence the “reversal of the contemporary art” (Nadimi 1378: 32). Since urban spaces have been the centres of concentration of societies, these spaces can be considered as the most suitable manifestation of human’s culture. Therefore, urban programmers should thrive and strengthen the positive aspects of national culture by implementing short and long-term programs in such areas. Methodology: The specialists, who criticise the conditions governing the Iranian modern cities spatial structure and architecture, have offered several suggestions for national and religious values to emerge. For instance, in the closing manifesto of the symposium of “Public Culture, Architecture and Urbanism in Iran”, in addition to the commiseration expressed for the lack of attention given to the aspect of public culture in the architecture and construction of newly built cities, it has been emphasised to strongly include “... promotion and prevalence of Iranian-Islamic cultural signs and Symbols” and also “... attention to the cultural aspects of the society” into urban programming. The question that arises here is that what should be done for identification of the Iranian cities, and transforming them into manifestation of Islamic civilisation and culture? And if employment of the above-mentioned Islamic signs and Symbols in modern constructions is possible, which suitable and Meaningful ways, and what implementation process(es) would be suggested? In the present research, it has been tried to study the communicative role of Symbols and signs in the ancient cities, as well as discussing the justification and the know-how of employing these signs; with the aim of determining practical ways of using them in new born cities. The main aim of this research, therefore, is to present practical suggestions that could transform the contemporary cities to visual manifestation contexts of their habitants’ cultural values. Results and Discussion: Results of the analysis carried out in this research clarifies that: (1) the reduction of foreign Symbols used in urban spaces; and (2) strengthening of national identity, using Symbols which reflect the cultural and beliefs of the habitants of this land, are two possible and beneficial realistic methods.Conclusion: Therefore, it is offered as a practical suggestion to the Ministry of Housing & Urban Development to establish “the Commission of Cultural Symbols & Signs” to manage the above mentioned tasks. As a matter of fact, this commission will be able to approve necessary regulations in order to oblige public (governmental) and private (non-governmental) employers to reduce the usage of foreign Symbols in building façades. The mentioned commission could also encourage private employers, in the form of granting special incentives, to use cultural Symbols in the buildings. 

The term histiocytosis refers to a group of idiopathic clinical entities characterized by diffuse proliferation of mature histiocytes associated with tumorlike masses of foamy reticuloendothelial cells containing lipoid droplets with variable number of eosinophiles & connective tissue. This cells causes tumorlike masses in the bones and other vicera in the body thus it may have very different clinical signs & symptoms. Also it may have acute and fulminant form or chronic and slowly progressive.We have an interesting case with multiple organ involvement and chronic otitis media with granulation in the external audiotory canal and perforation of tympanic membrane. The patient was three years old with diabets insipidus and visceral involvement such as hepato-splenomegaly. Histologic diagnosis was Hand Schuller Christian disease.

Interpretive signs explain the purpose of the present paper is the study of the spatial domain is performed. One of the signs used in Ardabil urban context the term “sabalan” is. Wide range of shops, goods, or a combination of Graffiti and institutions such as the use of their names or decorate. This study is based on descriptive phenomenology and structures of the Symbols were drawn through analysis of data obtained from interviews with a dozen people from Ardabil citizens have been studied. Phenomenological analysis based on an analytical model of the Ardabil Moustakas codes used in different types of signs to interpret. They are symbolic space that is created by their own statements, codes of expression, based on similar forms with the forms of expression, emotion, and sacred being described, they are harvested. These codes can be produced in a limited framework, with which they are faced by the people, in spite of their freedom to withdraw preferential, in this context is read.

The loss and negligence of the Islamic architecture essence and reality is one of the problems that face the Islamic architecture today. The Islamic architecture was often studied by various-cultural orientalists. So they were often studying only its surface neglecting the fact that the ornaments and the surface are only manifestation and image of the Islamic architecture and they are changeable by time and place. This study is a try to refer to this fact. Dealing with the visual image of this architecture shouldn't hinder the study of the essence of this architecture which is the implicit truth inside you as a human being and inside the world as an aspect of creation. This research studies: the deep and solid connection between the image and the Meaning in the Islamic architecture and the importance of the Islamic architect's role and thoughts. As well as it points clearly to the transition of concepts from the Meaning world into the image world, and the symbol matter and its solving where Symbols changed from the existing world into the image world which confirms the importance of the Islamic architecture and its clarity in the image.

Paul Tillich (1886-1965) is a German-American Christian theologian who suggests that language of religioli is symbolic; it means that the realm of the religion is full of religious Symbols. These Symbols have properties which empower them to express the religious believes and purposes. One of the Symbols properties is representation; i.c. similar to signs. They refer to something beyond. But Symbols (unlike signs which are arbitrary and conventional things) are grown from the collective unconscious, and participate in transcendent power and concept of the symbolic object.The religious Symbols appear in different forms such as objects, persons and natural events, and only their capacity for religious situation gives them symbolic Meaning. Therefore, to affirm the original of religious Symbols in referring to the Transcendent. They must be negated in finite Meaning.

Perceiving the principles of Christian arts as one of the monotheistic religions has a special significance in the studies of thought and art. In spite of the explicit prohibition of the Abrahamic religions on Image, It is important that how icons and iconography has become an essential elements of Christianity. It was expected that this book could respond part of this expectation. This article discussed some of the positive points and shortcomings of the two texts. in the framework of "Criterial Studies in Texts & Programs of human sciences Journal", from point of critical studies method has described and analyzed two book. Thus, it was noted that the translation with manipulating of the framework of the source has affected the goals of the book, meanwhile because of the lack of proper approach; questions on "the Meaning of Icons" remain unresolved yet. The lack of bibliography is a fundamental shortcoming of the Persian version, and the failure to follow the standards of research has subjected the validity and effectiveness of the book. Because of the deficiencies and the mixing the content, the present translation does not seem to answer the needs of readers who have interested in this field and cannot be considered as reliable text.

Motivation means the existence of a clue in the form for understanding the Meaning, the device which guides us directly towards Meaning. So the relation between form and Meaning isn’t always arbitrary and sometimes this relation may be an iconic one. One sort of motivation is semantic motivation. Those words have semantic motivation that there is a semantic relation between their components and the Meaning of the whole word. Some people believe that primary words were more iconic and by passage of time as well as phonetic changes, this motivation has been reduced.In this research, a more powerful and a more exact attention paid into it. To consider this hypothesis, four travel accounts from the present time were selected and 2800 content words from them were extracted. Then the semantic motivation in those words was analyzed. Afterwards, the results of these texts were compared with the results from considering 2800 words of texts from 200 years ago in order to answer the question that since 200 years ago, motivation in Persian language had been increased or decreased. The Comparison of the results of two courses of time showed a Meaningful increase in the number of words with semantic motivation in the present time in comparison with 200 years ago. Therefore, it might be claimed that since 200 years ago, words with semantic motivation have increased.