Moones Nameh is a collection of stories, narratives and words of wisdom, a unique copy is extant in the British Museum. The author is Abu Bakr ibn Khosrow al-Ustad who todate remains anonymous yet in the preface refers to his other 6 writings. The book was composed during Atabak Nosratuddin Abu Bakr ibn Mohammad' nxle from the Azerbijan Atabaks and dedicated to him. The writer presents interesting views on the merits of the book in question and provides an account of the contents.

Shortly after gulf war (G.W) thousands of war veterans referred with sign and symptoms of an unknown disease called G.W illness. Despite multiple studies undertaken by several non-governmental and governmental centers this illness remains unclassified and can not be coded by international classification of disease (I.C.D). The etiology has not been found and the illness appears to be multifactorial and basically related to use of depleted uranium (D.U) weapons, chemical warfare (C.W) and biological agents. This article reviews this illness and the adverse effects of D.U and B.c.W agents in the G.W battlefields.

Introduction: Formant structure is one of the most important acoustical characteristics of sound. The relationship between first three formants is the main component of perceptual categorization by the listener. The quality and the kind of one vowel are related to its formant.Material and methods: The goal of this descriptive-analytical study was to assign and compare formant structure of Persian vowels between 50 Persian children 7-9 years old from two separate schools in Tehran (25 boys and 25 girls) and 50 adults aged between 18 and 22 from Persian students and employees at the rehabilitation sciences faculty of Iran (25 men and 25 women). Six Persian vowels (/i/, /e/, /æ/, /a/, /o/, /u/) were produced using simple sample. The first three formant of Persian language vowels were obtained and compared between two groups of male adults and school boys and also female adults and school girls.Results: Fundamental frequency, first three formants of each vowel (F1, F2, F3), band frequency of each formant, and the intensity of each formant in each vowel were obtained and recorded by speech studio software and laryngograph device.Conclusion: In all groups, / æ / vowel was the lowest height vowel and /i/ vowel is the highest high one. In addition, /i/ vowel was the high front vowel and /u/ vowel was the high back vowel one in all groups. The results of comparison of formant structure of Persian language vowels in two groups of male adults and school boys, and female adults and school girls suggested that all quantities of formant frequency of the Persian vowels in adults is lower than children, by what it says that male and female adults had lower formant frequencies in compare with boys and girls. These findings were similar to pervious same studies. The differences observed between children and adults are due to different vocal tract length and different size of resonator cavities.

Hiatus is a situation in which there is no consonant between the nuclei of two adjacent syllables. It occurs when the left syllable lacks a coda and the right one lacks an onset. The present research aimed at analyzing how hiatus occurs in Old Persian and the strategies used to resolve it. The old Persian cuneiform is a syllabary consisting of 36 graphemes, of which 22 represent a sequence of a consonant and the vowel /a/. According to the findings of this research, if this vowel is followed by one of the three vowels /i/ (I), /u/ (u), and /A/ (A) in a word, then there occurs hiatus in the underlying representation. In this research which is conducted within the framework of Optimality Theory (Prince and Smolensky, 1993/2004) it is discussed that hiatus in Old Persian is resolved using intervocalic consonant insertion, the deletion of vowel /a/ as well as a combination of them both. In so doing, the constraints and their rankings that cause all these hiatus resolving strategies in Old Persian are introduced. It is worth mentioning that based on an Old Persian pronunciation rule, in case the vowel letter A is the first letter of a word, it represents the vowel /a/ in some words and the vowel /A/ in some other words. However, if it is not the first letter of a word, then it only represents the vowel /A/. As converting this rule to an OT constraint required accesses to the graphematical information of Old Persian cuneiform and that it could not be explained using an analysis that was solely phonological, an orthographic constraint with access to the graphematical information was formalized. The results of the present paper explain some important and new facts regarding Old Persian syllabary, hiatus and its resolution strategies in this ancient language.

'Tazieh' (the passion play) is a ritual, musical and poetic play that has come from the heart of Shiite Iranians' mournings for the martyrdom of Imam Hossein – the third infallible Shiite Imam - with his followers in the 'Karbala' desert in the year 61 (A.H). This kind of play is the only Iranian traditional play which has a written text. The texts are highly influenced by the Iranian classical literature. This article is concerned with the direct presence of Persian classical poets in 'Tazieh'. After investigating different ways of using Persian poems, we conclude that in 'Tazieh' attention is mostly paid to the surface meaning of poems. In addition, although in some cases poems are used with no change, in most cases some necessary modifications are made to make them more suitable for the setting. Finally, some comments are made concerning the influence of the Persian epic literature on the passion play.

In the formulaic phrase aivam parū vnā m xš ā yaθ iyam, which is repeated in the beginning of a number of inscriptions of the Achaemenid kings, all scholars have supposed aivam as a numeral pre-modifier and translated the phrase as “ one king of manyˮ . However, exact examination of the syntagmatic relationship of parts of this phrase and its comparison with the phrases such as haya Dā rayava um xš ā yaθ iyam akunauš “ who made Darius kingˮ , explicitly indicates that in the above-mentioned formulaic phrase, the verb, i. e. akunauš , has been deleted; in other words, the structure of the phrase was originally as aivam parū vnā m xš ā yaθ iyam (akunauš ). The present article deals with defining the syntactic role of aivam and xš ā yaθ iyam and justifying the syntactic role of paruvnā m. It has been also attempted to show by citing evidence from Avestan and Old Persian texts that, contrary to the common notion, aivam is not a numeral pre-modifier but it is an unspecified adjective which has been used as direct object of the factitive verb (i. e. akunauš ), and the xš ā yaθ iyam is its predicate, so the phrase can be safely translated as “ who made one (person), king of manyˮ .

This paper investigates and analyses the effect of Nahj-Al Balaagha on the verse of Persian poets since the fourth to the end of the eighth centuries(A.H.). Evidences indicate that the rich literary quality of Nahj-Al Balaagha had inspired poets such as Ferdowsi, Sanaee, Nizami, Naser-e-khosrow, Asadi Toosi, to name but a few. This analysis indicates that old Persian poets, depending on the social context and the conditions of the time, selected issues in Nahj-Al Balaagha as subject matter for their verses but while poets exploited the content of Imam Ali"s text, they avoided Arabic diction.

Easy access to social media enables users to express their opinions and ideology about various topics like news, videos, and personalities freely, without any fear, and often in an offensive manner. It is a vital task to detect comments with offensive language on social media platforms and relies on a complete and comprehensive tagged dataset. Therefore, in this paper, we introduce and make publicly available PerBOLD, a new Persian comment dataset collected from Instagram as a popular platform among Iranian. We follow a two-level manual annotation process in order to determine whether a comment has offensive language or not and fine-grained tags of different types of offensive language. Furthermore, we present some interesting aspects of data and analysis them.

Along the history of Persian Literature, the women have played many different roles such as beloved, mother, wife, daughter, servant, old woman, and so forth. In many cases, they have been the symbol of complot, treason, corruption and a toy in men’s hand.This descriptive, Library research aims to demonstrate different roles of old women such as mystic, brave, wise, counsellor, narrator, misleaders, match maker, magician, and so forth to show relationship between world and old woman as a bride who has thousand grooms.

About eighty inscriptions have been discovered from Achaemenian dynasty up to the present time. Since these inscriptions have been kept from corrections and editions they are considered as the very valuable documents for the study of Iranian history. In spite of many comprehensive studies on these inscriptions, less attention has been drawn upon the writing style of Old Persian inscriptions. It seems that special models were used by the scribes in writing these inscriptions. The aim of this article is to review the stylistic aspects in these inscriptions.