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.

Postmodern art is characterized by several distinctive features, one of which is APPROPRIATION. This concept is closely intertwined with intersexuality, establishment of intertextual relationships, negation of authenticity, and decentering of meanings. Numerous artists, among them Glenn Brown, find inspiration in historical epochs like the Baroque and Renaissance periods, infusing these influences into their own artistic creations. This study embarks on an exploration of notion of APPROPRIATION in Glenn Brown's portraiture. To achieve this goal, we will commence by offering definitions of postmodernism and APPROPRIATION, followed by a thorough analysis of five portrait paintings by Brown through lens of this perspective. This research adopts a descriptive-analytical approach and leverages digital versions of internet articles, along with the original digital copies of the artworks for image compilation. From Glenn Brown's extensive body of work, we have handpicked five appropriated portrait paintings for in-depth examination. The concept of APPROPRIATION emerges as pivotal postmodernist approach in realm of art. This concept entails artists borrowing, altering, and reshaping elements from pre-existing sources. During this creative process, artists draw upon elements from historical and contemporary texts, popular culture, advertisements, mass media, and even works of fellow artists, integrating and transforming these elements within their own creations. These transformations can encompass altering original meanings or engendering striking collisions of ideas.In addition to being evident in all forms of visual art, spirit and philosophy of postmodernity have introduced new MATERIALs and tools, alongside technology, into many works of visual art. Postmodernism in visual art not only manifests itself in artworks but also introduces new MATERIALs and tools, frequently reshaping landscape of modern painting. In postmodern painting, influence of past modernist movements is discernible, and conceptualism is acknowledged as significant characteristic. Postmodern painters reevaluate artistic values of the past and present textual content in their works to audience anew. This form of painting is a result of neo-expressionism, conceptualism, and pop art, but it offers a new artistic experience with an emphasis on viewer participation, structural disruption, and semantic complexity.The portrait genre has manifested in various ways throughout history of visual arts, at times within realm of two-dimensional art such as drawing and painting, and at other times by delving into three-dimensional space and sculptural expression. "Portraits serve diverse functions and are presented through various media. Painting is the most prevalent medium for representation of portraits.In the United States and Europe, the creation of portraits declined during the years between 1940 and 1950 due to greater focus on abstract and non-figurative art. However, with advent of postmodern art after the modern era, portraits lost some of their traditional functions and underwent transformations in style and media. The years between 1960 and 1970 marked a revival of portrait art, with artists like Lucian Freud and Francis Bacon creating significant paintings. Many contemporary artists, such as Andy Warhol, Alex Katz, and Chuck Close, shifted their attention to portrayal of faces. Glenn Brown is another contemporary artist who has displayed a unique perspective in the realm of painting and portraiture.Glenn Brown, a contemporary English artist, has been actively engaged in realms of painting, design, and sculpture, and has been subject of individual exhibitions at prestigious institutions. As a multi-disciplinary artist, Glenn Brown draws inspiration from a diverse array of artistic sources, encompassing painting, film, literature, and music, which he seamlessly incorporates into his paintings. His body of work can be broadly categorized into three primary groups: paintings rooted in APPROPRIATION of famous artworks and historical painting techniques, scientific-imaginary paintings, and sculptures. In context of this article, our focus will be directed towards providing an overview of Brown's works that fall within the ambit of the first group.In Rembrandt's portrait, which is created in the Baroque style, the color palette prominently showcases earthy tones of brown and ochre, leaning towards a sense of warmth. The subject's face is gently bathed in soft, warm light, crafting a subtle contrast. In contrast, the lower portions of the canvas, including the subject's attire and the background, are rendered in deeper shades, thereby emphasizing a sense of darkness. However, in Glenn Brown's artwork, the portrait exhibits characteristics that diverge from Rembrandt's work.ConclusionThe emergence and evolution of postmodern art have been shaped by numerous factors, with its origins often traced back to the late tendencies of modern art. Among the postmodern artists who have harnessed the revolutionary and transformative aspects of new painting styles during this era, Glenn Brown stands out. Through the adept utilization of APPROPRIATION as a tool, he engages in satire and mockery of the formalism and structuralism prevalent in pre-postmodern and pre-post-postmodern art. By combining, altering, and amalgamating elements within his works, he fundamentally reconfigures the structure, which is subject to adaptation. In doing so, he highlights issue of negating artistic authenticity in a novel and thought-provoking manner.

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.

Adaptation of literary and artistic works is one of the common ways of creating works. Adapted works can have independent values that make them original and protecting. The use of another work in the form of adaptation requires mechanisms such as obtaining permission from the right holder or invoking legal exceptions to the right. But legal regimes do not usually talk about the rules of adaptation, such as Right of Reproduction and its exceptions, while adaptation and APPROPRIATION is a common art movement in society and can in practice bring numerous Infringement. The serious question is in what legal framework can another work be adapted? and how the boundary between authorized and unauthorized use is determined? Undoubtedly, the analysis of permitted uses depends on precise legal criteria that, while preserving the copyright of the first work, also provide the basis for the creation of new works. The present paper concludes with a descriptive-analytical method that adaptation, considering the policies of each country's intellectual property system, is allowed in specific frameworks such as assessing the market impact of the adaptation on the original work and accepting some modifications in copyright, including moral rights.

One of the cases of using interpretative principles is in the possibility of repealing a legal article or generalizing it, as well as in the conflict between repealing a legal article and generalizing it. Although scholars try to resolve the conflict between two articles as much as possible by referring to the rules of general, but sometimes there is no possibility of allocation and it is necessary to reject the opinion. So, the main research question in this regard is which interpretive principles are applicable in the possibility of repealing the legal article or its public APPROPRIATION and also in the conflict between the repeal of the legal article and its public APPROPRIATION? The necessity of conducting this research, in addition to being useful in revising laws, is that no one has done it yet. The research method in examining and finding the answer to the question is descriptive and analytical, and the research in answering the question has come to the conclusion that the principle is in the possibility of abrogation, non-abrogation, and the principle in the possibility of allocation, non-allocation, and also the authenticity of the general public, and the process of obtaining the validity of the law In the possibility of revocation and validity, the general public is in favor of the possibility of allocation, but in the conflict between revocation and allocation, the principle of preference of allocation prevails over revocation, provided that the conditions of allocation are met, otherwise revocation will take precedence over allocation.

An aspect that is both significant and often overlooked in the convergence of Islam and modernity is the interaction between Islamic scholars and modern concepts. This interaction has been instrumental in shaping the advancement of modernity and its implementation within Muslim societies. The concept of "nation" is among those that have bestowed upon the Muslim countries of the Middle East a distinct international perception. Regarding this, every Shi'i cleric has endeavored to delineate the demarcation between themselves and this notion by offering a religious and Shi'i perspective on this contemporary concept. Naini, a renowned scholar of the constitutional era, put forth one of these groundbreaking conceptual encounters within the framework of choice theology in the book. We will analyze this notion in the forthcoming article through the lens of "Historical Sociology" and employ the "thematic analysis" technique. In conclusion, this study demonstrates that Naini, in employing the "acceptance and APPROPRIATION" strategy, initially embraced the entire notion and the resulting nation-state order, upon which he constructed his theory. Additionally, it challenges the "ideological aspect" and endeavors to offer a fresh interpretation of this notion while preserving the Islamic and Shi'i perspectives on emergent modern phenomena and concepts, including the nation and state.