The Condition of payment form the heart of the guarantee. They determine the actual benefits for the beneficiary and the risk exposure for the account party/principal debtor. For example, it is the clause that payment will be made on the beneficiarys first demandwithout any proof of default that renders this particular guarantee totally different from the traditional or accessory guarantee. On the other, aguarantee payable upon submission of an arbitral or court decision is in substance hardly different from the contract of accessory guarantee. While different as regards the degree of default, all conditions of payment share a common characteristic, namely their DOCUMENTARYNATURE. All of them require the submission of documents and the banks duty is confined to examining whether these documents comply with the documents prescribed in the guarantee. It is this DOCUMENTARY NATURE of the conditions of payment, which enables the bank to perform its function

Environmental aesthetics includes some features of natural and artificial beauty which, apart from its importance as one of subfields of philosophy, can play a role in reforming and upgrading of human relation with NATURE and thus this can have constructive influences on environmental ethics. This is one of the possibilities of philosophy, and also this is a way to show more attention to the various aspects of the vital and cultural of aesthetics and avoid limiting aesthetics to art. This show that the category of beauty apart from pleasure can enhance vital value in life of human, also, can be translation some Kant’s view on relationship between beauty and moral good. In this qualitative article, we describe and analyze the opinion of experts in this field. Data has been extracted through library study and internet search. The findings confirm the effect of aesthetic appreciation on human ethics and behavior. Accordingly, it is necessary to pay attention the philosophy of natural beauty. In this analysis, also, is mentioned to the role of NATURE DOCUMENTARY films.

The principle of independence and the DOCUMENTARY NATURE are two essential features of the independent guarantee, considered as fundamental principles in the international regulations relating to these guarantees. Part of the provisions of the new bill of trade law in Iranian law relates to independent guarantees. Previously, the Bank Bid Guideline had issued about warranty law that, of course, could not replace the law. In this paper, the provisions of the new trade Law of 6/10/90 and URDG 758 and UNCITRAL convention, referring to these two characteristics and the guidelines and its comparison with the provisions of them, concluded that, while the new bill on trade is inadequate, the provisions of the bill regarding the reference to the principle of independence and the DOCUMENTARY NATURE arent in full compliance with international regulations and need to be reviewed further. For this reason, it is necessary to use policies such as observing the fundamental principle of the governorship of voluntariness, considering the international aspects of the independent guarantees, and aligning with the international regulations.

The ruins of Persepolis is located on the Farvardin Plain, 50 km North-East of Shiraz. The significance of the site as an International World Heritage was distinguished by UNESCO as the first among the five selected historical sites in Iran and registered in 1979. The importance of the site has also been recognized by organizations such as International Councilor Monuments and Sites (ICOMOS), The World Conservation Union (IUCN), and International Organization for Conservation of Cultural Heritage (ICCROM) who have supported its reclamation and restoration during the past decades.Despite the many studies on the art, architecture, archeology and history of Persepolis, there is little information on the natural setting and the landscape of this valuable complex. There are still doubts about the existence of a wall and watchtowers around this valuable architectural complex. This is whilst discovering the natural landscape and historical boundaries are of the important factors in managing comprehensive environmental conservation.To deal with this problem, this article endeavors to presenta three dimensional model of the Persepolis landscape of the Achamenian period. A remote sensing data analysis, photogeology and field survey are used. Remotely sensed air photos and satellite imagery have been shown to be a valuable tool for the characterization of the archeological landscape and locations of collapsed structure.Interpretation of aerial photos in different scales and processing satellite data TM and+ETM-that are new methods of ancient site analysis-constitute the main method of this study. Using this technique and the difference in texture, size, color, shape and vegetation pattern, and the associations of these criteria with the possible place of the wall and watchtower are identified. The result of this study is indicative of a wall and watchtowers surrounding Persepolis. This could be subsequently confirmed with geophysical surveying and archaeological excavations. The advanced high resolution (both spectral, and spatial), remote sensing data (ASTER, IKONUS, IRS, etc.) and hyper spectral surveying can assimilate other types of archeological data to process analyzing, and better understanding of the features, their patterns, textures, size, association, and so on and will help to deal with the issues of site characteristics. The result of this study using different age air-photos and ETM+ images are indicative of the following features: - The present Persepolis site is small sector of vast area where the capital city (the Parse) and satellite villages had been located.- Misleading in buffer zonation and consequence deformations have been caused sever damages and destruction of archeological residues that where likely remnants of original structures.- There are some remnant and residues of guard wall and watchtowers surrounding impressive palaces of Achaemenian Empire, the Persepolis. In order to precisely define the location of the irrigation system, housing patterns and the social life as reflected in the setting of the various elements of the Parse and the aerial extension of Persepolis, further surface and subsurface studies are recommended. It is necessary to use new geophysical and spectral techniques to define the aerial extension, the architectural structure and construction patterns of the ancient civilization on the peripheries of Persepolis platform. Such studies may clarify the many aspects of Achaemenian period, and reclamation or reconstruction of Persepolis during ancient times.

This essay examines the most important elements on the formation of globalization, and cosmopolitan thought, and then examines its effects on Qatsi trilogy directed by Godfrey Reggio. The term of globalization is a significant concept in the field of interdisciplinary studies and has entered into other broad fields such as sociology, political, economic, moral and cultural orientations. Throughout modern history, intellectuals such as Immanuel Kant, tried to understand cosmopolitanism and world peace. Kant in his book “ Perpetual Peace: A Philosophical Sketch” used these notions as a theoretical framework by reconsidering the issue of world peace, and puts before the rulers the principles that he believes will lead to the establishment of lasting and eternal peace in the world. Also, we have referred to the views of other theorists in this field. In this article, Godfrey Reggio’ s trilogy including Koyaanisqatsi: Life out of Balance (1982), Powaqqatsi: Life in Transformation (1988), and Naqoyqatsi: Life as War (2002) are analyzed based on this idea. The fundamental question addressed here is to what extent Qatsi trilogy has been influenced by globalization and cosmopolitanism ideology, and also how much these movies have used the basic concepts of this ideology. In Koyaanisqatsi, we refer to Anthony Giddens’ view of modernity and the globalization of inseparable phenomena, one of which cannot be explained or understood without the other. According to Giddens, “ modernity is inherently globalizing” . He defines this as a spatial-temporal process when it can be identified in any important aspect of contemporary social life. Throughout the film, we see countless elements of modernity that, according to Giddens, lead us to globalization. In Naqoyqatsi we are confronted with an issue called war and terrorism, which is one of the hidden concepts of this DOCUMENTARY. Therefore, referring to Kant’ s democratic peace by which he pointed to the possibility of avoiding war, and raised the issue of tolerance, emphasizing the need for education in this field among societies to prevent war. So we come to the important issue of tolerance, and whether humanity, made up of governments and their citizens, can achieve peace through tolerance in a world where the fires of small and large wars are rising at every moment. The reason seems to be that without tolerance, there will be neither a global citizen nor a cosmopolitan. In Powaqqatsi, we have addressed the issue of the arduous work of labors in the third world for the advancement of modern societies. Then, based on John Rawls’ ideal theory of the rationality of universal justice, we have tried to provide an appropriate answer to the question of injustices in the real world. This film calls for a global change for the benefit of humanity and the environment. Finally, according to the analysis and examination of the various dimensions of this idea, we conclude that this idea has influenced this trilogy from different angles due to its coverage of universal themes and broad semantic dimensions.

This article aims to review the book “, Noam Chomsky: NATURE and language”, , edited by Adriana Belletti and Luigi Rizzi. Despite all the ups and downs during the past seven decades, generative grammar is still recognized as the dominant language studies approach, particularly in North America. In the course of this book, first, a general outline of generative grammar is introduced. It follows by roots of the generative theory language, its prospects, and the challenges ahead. It then continues with an interview with Noam Chomsky done by the editors of the volume, raising critical issues about generative linguistics and the future of the theory. This article includes an overview of theoretical linguistics, emphasizing the evolution of generative grammar. Next, the structure and content of the book are examined, followed by an evaluation of the appearance and content. At the end of the article, the overall view on this book is concluded.

DOCUMENTARY photography is one of the oldes t and main branches of photography that Its purpose is to record and represent objects, events and various scenes around the world in a realistic, neutral and hones t way. In fact, the main ability of DOCUMENTARY photography is its power of representation, descriptive and citation. Representation in DOCUMENTARY photography is a process that depends on the photographer's point of view, the elements of the outside world, the camera, and the definitions and requirements of DOCUMENTARY photography. However, DOCUMENTARY photography has a variety of representational and expressive capacities, and representation in DOCUMENTARY photography takes different forms and qualities. Because the DOCUMENTARY photographer is not necessarily the neutral and passive recorder of the scene in front of him. Anyway, since the DOCUMENTARY photographer is not a neutral and passive recorder of the elements and the scene in front of him, the DOCUMENTARY photo can also take on different functions and qualities. If we accept understanding each branch of photography depends on familiarity with the functions and cons traints of that branch and a DOCUMENTARY photographer is subject to the accepted definitions and requirements of DOCUMENTARY photography; So, logically, the possibility of creating an artistic DOCUMENTARY photo should be extracted from the specific features of DOCUMENTARY photography itself. Therefore, According to purposes and different representational and expressional capabilities of photography, concepts such as representation, regeneration, explicitly, ambiguity, description and interpretation in relation to DOCUMENTARY photos have been inves tigated in the current s tudy to explain creation methods of DOCUMENTARY artis tic photo and its characteris tics and also answer this ques tion that because of what features a photo obtains artis tic features and transforms into a DOCUMENTARY artis tic photo. What are the differences between an art DOCUMENTARY and a DOCUMENTARY? What is the quality, quality and different features of an artistic DOCUMENTARY compared to a DOCUMENTARY? However, the concept of art has always been subject to change and ambiguity; But critics, through some concepts related to art and the general expectations we have works of art, discuss the artistic aspects of a work. These concepts have always been of interes t to art critics and theorists Given the various purposes and functions of DOCUMENTARY photography, it seems that with their help it is possible to examine DOCUMENTARY photographs and describe and analyze their various aspects, especially art. Due to the diversity of different branches of DOCUMENTARY photography, the topics and results of this research can be used to better unders tand the different aspects of this branch of photography and the classification and analysis of DOCUMENTARY photographs. On the other hand, this research has a practical aspect and its topics and results can also be used for education. The s tudy used descriptive-analytic and comparative research method and data has collected through library resources. In this study, based on the main and accepted characteris tics and functions of DOCUMENTARY photography, the concepts of representation, transparency, clarity, ambiguity, description and interpretation have been tested in relation to DOCUMENTARY photographs. In this way, while describing the characteris tics of DOCUMENTARY photographs, in contras t, the characteristics of artis tic DOCUMENTARY photographs have been identified and explained. The findings showed that, In the DOCUMENTARY art, instead of representing the real world in a s traightforward way, we are confronted with recreating a reality that is ambiguous; Because ins tead of merely describing a scene and event, it expresses the photographer's interpretation and brings him thoughts and views on a scene, event, or subject. In other words, DOCUMENTARY artis tic photo is the result of photographer’ s artis tic action that is its new and different perspective towards real world. In fact, ins tead of merely transcending external reality, the photographer recreates new reality by deliberately and creatively representing the scene in front of him. Its elements and components are selected and combined in such a way that they express the photographer's interpretation and surround her opinion and point of view. In this way, the audience, in the face of the world of photography, is forced to make inferences and speculations about the presented subject and to think and imagine. Thus, in DOCUMENTARY artis tic photo we are faced with the dominance of compilation, commentary and aes thetic aspects. In fact, in an artis tic DOCUMENTARY, the photographer's share the role of the playwright is more than the tools and the subject matter. Because a photographer recreates a new reality through creative representation of real affairs ins tead of reality and makes the audience to think and imagine about the represented topic. It seems that the concepts mentioned in this article can be discussed in other branches of photography as well and achieved useful and ins tructive results for recognizing their various aspects and test the artistic aspects of each branch of photography in this way.

Due to the significance of the concept of Razavi education and the necessity of its extension and popularization, this research is intended to investigate this concept in “ Rezaye Rezvan” DOCUMENTARY movie. This is a combined research (quantitative and qualitative). The most important components and visualizations of “ Rezaye Rezvan” DOCUMENTARY movie includes the following: 1. Hope to God; 2. Trying to achieve the goals 3. Avoiding imaginary aspirations 4. Hope for forgiveness of the mistakes 5. Focusing on reality and accepting the facts 6. Hope for the future. The findings also indicated that dissemination of Razavi teachings in society, the flow of education, changes in the content of educational films towards Razavi thoughts, the use of Razavi thoughts in community affairs, the establishment of a safe and healthy environment and the attendance of governmental and nongovernmental managers specialized in Razavi educational literature will result in the increase of Razavi educational attitude among people, especially among the youth.

Before invention of film and television, there was not any way for people, except listening to oral narratives of history or studying the written texts to understand history. But film and television brought new achievments for people: watching moving pictures as (live representation of history).Finally, after second World War, a group of historians recognized the DOCUMENTARY film footages for their investigations, explanations and interpretations of historical facts. The post-modernist historians recognized compilation DOCUMENTARY films as a new method for «visual historiography» while the tradition of compilation DOCUMENTARY film production had begun in the last years of silent films era and the international council of archives (ICA) had recognized the DOCUMENTARY film footage as an authentic document for historical researches in Moscow congress in 1972. But what is the definition of compilation film? Film assembled in the editing room, from pre-existing/archival film footages. Most compilation films are classified as documentaries since they drive their material form nonfiction sources. The main source for the compilation film has newsreel which by 1910 was being issued regulary in several European countries and in the United. States of America. This article through introducing and categorizing all types of compilation (DOCUMENTARY) films by using library and documental researches methods, also explains the history, methods of production and structural characteristics of this type of DOCUMENTARY.Besides, the article introduces and analyzes a group of Iranian and Western TV productions in all sub-genres of compilation DOCUMENTARY film, and finally comes to these conclusions:There are two basic methods in DOCUMENTARY film making for «visual historiography»:1.Recreation/reconstruction of history by re-enactment method (historical docudrama)2. Direct representation of visual documents by using DOCUMENTARY photographs and archival film footages. In condition of establishing a rich, well organized and modern film archive, as supporter and source of material for compilation film production, this type of DOCUMENTARY film making is one of the low cost productions for making historical films, for representing periods, events and historical figures through the last and current century.