Introduction: Metal-ceramic restorations have been commonly used in dentistry. These restorations have both the esthetics of porcelain and the strength and durability of metal. Noble alloys and base-metal alloys are usually used for metal-ceramic restorations. Applications of base-metal alloys has been developed because of economic considerations, mechanical properties and low density. Remelting of used alloys is a common way in dental labs to reduce the costs of fixed prostheses. Few studies have been performed on the effect of RECASTING alloys on the metal-ceramic bond strength. The purpose of this study was to evaluate the effect of commond alloy RECASTING on metalceramic bond strength.Materials & Methods: In this laboratory-experimental study, 23 waxed patterns in the size of 0.5´3´25 millimeter were cut with bisturi blade. Wax patterns were sprued, burned out and casted with commend alloy. The second group has the same method although they consisted of equal amount of fresh alloy and alloy remnants cast only once, the third and fourth group contained 50% fresh alloy and 50% used alloy of last group. After sandblasting, grinding and surface preparation, porcelain application was done with Noritake porcelain. samples fractured with 3-point bending test by Universal Testing machine at the speed of 0.5 mm per minute. Finally, the results were analyzed by ANOVA (p value=0.007).Results: The results indicate that the highest mean values of fracture strength of porcelain to metal was in the first group (30.9 N) and then squencely in the group 3 (28.7 N), group 2 (26.8) and group 4 (24.3 N).There is a significant difference between group 1 and 2 (p value=0.03), group 1 and 4 (p value=0.001) and group 3 and 4 (p value= 0.02). There was no significant difference between group 1, 3 (p value=0.26), group 2 and 3 (p value=0.3) and group 2 and 4 (p value=0.18).Conclusion: RECASTING of base metal alloys statistically decrease the bond strength of porcelain to metal.

Introduction: Base metals are being increasingly used in casting procedures in dentistry. Since RECASTING these alloys in laboratory might have negative effects on marginal fitness, it seems necessary to study the effect of RECASTING procedures more carefully. The goal of this study was to study the effect of RECASTING base metals on vertical marginal fitness of crowns with different marginal configurations with different percentages of alloys.Material and Methods: In this study, two dies made up of brass with dimensions of prepared premolars and marginal configurations of shoulder bevel 450 and shoulder 1350 were prepared by CNC machine. Total of 30 copings were waxed and cast, 15 copings for each die. Copings were further subdivided in to three groups A, B and C. Group A consisted of 100% new alloy, group B consisted of combination of 50% new alloy and 50% old alloy, group C consisted of 100% recast alloy. After copings were seated, vertical distance from margin of the restoration to margin of the die was measured by metric microscope with Moticam camera at four points of buccal, lingual, mesial and distal. Data were analyzed by two- and one-way ANOVA and t- test.Results: Group A1 (135º shoulder finishing line cast with 100% new alloy): 156.11 micron. Group A2 (45o shoulder bevel finishing line cast with 100% new alloy): 99.74 micron. Group B1 (135o shoulder finishing line cast with 50% new alloy and 50% recast alloy): 273.38 micron. Group B2 (45o shoulder bevel finishing line cast with 50% new alloy and 50% recast alloy): 123.07 micron. Group C1 (135o shoulder finishing line cast with 100% recast alloy): 369.40 micron. Group C2 (45o shoulder bevel finishing line cast with 100% recast alloy): 106.97 micron. There were statistical differences between groups A, B and C in vertical gap when three different percentages of alloys (100% new with average gap of 127.93 micron, 50% new+50% recast with average gap of 198.22 micron, 100% recast with average gap of 238.18 micron) were used (p value = 0.036). There were statistical differences in mean vertical gap distance between different preparations (shoulder bevel 45o, shoulder 135o) within each group (100% new, 50% new + 50% recast, 100% recast).Discussion: When three different percentages of alloys were used (100% new alloy, 50% new + 50% old, 100% old), 100% new alloy showed the least mean vertical gap compared to other two groups. In shoulder 135o there were statically differences between group A and C only and in shoulder bevel preparation there were no statically differences between groups A, B and C. In group C (100% recast) there were significant differences between two preparations (shoulder bevel 45º and shoulder 135o). 

Background: Casting is one of the most popular processes for preparation of dental appliances and structures. The effect of melting and casting process on the corrosion behavior of dental appliances and prosthetics is important since the corrosion behavior of the dental metallic alloy is an indication of their biocompatibility in the mouth. The aim of this investigation was to evaluate the effect of laboratory casting and the RECASTING and use of return materials on the corrosion resistance of dental casting alloys.Materials and Methods: The ingot of two types of dental alloys (Co-Cr-Mo and Ni-Cr-Mo alloys) was used and enough coupons were prepared using the lost wax molding technique and centrifugal casting process. The same process, using remelting and RECASTING of the alloys, was performed to prepare the other samples for evaluating the effect of the RECASTING and use of casting returns and scrape materials on the corrosion resistance of the casting alloys. Electrochemical potentiodynamic tests were performed in physiological solution in order to determine and compare the corrosion behavior of dental casting alloy samples as an indication of biocompatibility.Results: The results showed no statistically significant difference between the mean corrosion current density values of two groups of the Cr-Co-Mo alloy (melted once and melted four times). There were statistically significant differences between the mean corrosion current density values of three groups (melted once, melted four times, and melted five times) of the Ni-Cr-Mo alloy (p<0.05). The five times melted dental casting alloy possessed the lowest corrosion resistance. This was due to the undesired effect of RECASTING process on the corrosion characteristics of dental casting alloys and it seems that the condition and parameters of the casting process is not stable every time.

Literary adaptation is RECASTING literary books such as novels, short stories, or even poems in a new form such as films, stage plays, or even video games. Persian literature abounds with dramatic events. There are many fascinating narratives such as Shahnameh of Ferdowsi, Khmseh of Nezami, Mathnavi of Rumi, and Tarikh-e Beyhaghi of Beyhaghi, which have the dramatic capacity of literary adaptation. In this paper, the writer examines the dramatic capability of “The execution of Amir Hasanak the vizier”. The structure and artistic aspects of the story will be studied in the light of the elements of drama.

Dukhanin and colleagues’ taxonomy of metrics for patient engagement at the organizational and system levels has great potential for supporting more careful and useful evaluations of this ever-growing phenomenon. This commentary highlights the central importance to the taxonomy of metrics assessing the extent of meaningful participation in decision-making by patients, consumers and community members; discusses how the purpose of an evaluation and the organizational relationships among key evaluation stakeholders is likely to influence the choice of metrics in important ways; and suggests a RECASTING of the metrics in the form of a logic model that supports the selection of metrics that are appropriate for a program given its stage of development and the purposes of the study.

In this paper, we investigate the physical layer secrecy of a multipair cooperative network in presence of an eavesdropper. Simultaneous ccommunication between the transmitter and receiver pairs is established through a massive antenna array equipped fullduplex relay station, while the passive eavesdropper overhears communication between one pair. We consider that the relay uses zeroforcing, maximum mixing ratio, and maximum transmission ratio linear processing techniques. In the first part of the paper, we study the secrecy rate of the adopted linear processing techniques. We derive closed-form expressions for the average secrecy rate as a functions of the system parameters, such as number of pairs, the number of relay’ s transmit and receive antennas, and the channel estimation coefficients. In the second part of the paper, in order to improve the system’ s secrecy, an optimal power allocation scheme is presented at the relay station and source nodes. The formulated problem is a complex non-convex problem that is solved by RECASTING as a geometric programming problem. The simulation results show that the proposed power allocation scheme significantly improves the system's secrecy rate.

Objectives: Flexion contractures of the Proximal Interphalangeal joint are the most frequent complications resulting from surgical procedures and traumatic events. Orthotic interventions for the treatment of contractures may include serial splinting, serial casting, dynamic or static progressive orthoses, or a combination of these orthoses. This study aimed to determine the effects of serial casting methods using thermoplastic tape in the Proximal Interphalangeal (PIP) joint flexion contracture treatment. Methods: Thirty-one patients with flexion contracture of the PIP joint (mean: 32. 5° , range: 10-65° ) were treated by serial casting method using thermoplastic tape. Flexion contracture, total active motion, extension lag and flexion gap were evaluated in the first session. The affected joint was casted after hand therapy interventions. Patients were requested to visit the clinic every other day for RECASTING and receiving exercises. Results: After one month, the mean range of flexion contracture decreased from 32. 5° to 10. 7° . The mean range of flexion gap decreased from 3. 2 cm to 1. 8 cm. The mean range of extension lag decreased from 2. 04 cm to 0. 86 cm, and the mean range of total active motion increased from 81. 67° to 128. 81° . All of the aforementioned changes were statically significant (P<0. 05). Discussion: The use of thermoplastic tape for serial casting is an effective and reliable method for the treatment of PIP joint flexion contracture.

Literary works are sometimes the result of the domestication and creativity that have occurred when transferring the text from the foreign semiotic system to the domestic system. Although Farokhzad's poem Let Us Believe in the Beginning of the Cold Season was inspired by Eliot's Wasteland, each of these two literary works is unique in its way. In spite of the fact that changes brought about by transferring a text to the target literary culture are more pronounced than domestication, the text undergoes changes in many aspects, including literary structure in order to conform to the target audience. Moreover, by shifting, increasing, and decreasing the constituent elements of the source text, the poet domesticates it according to the literary and cultural requirements of the Persian-speaking community. This study aims to explain domestication strategies when transferring texts from the meta-system (source text) to system (target text) according to Lotman's theory. Results show that these changes have substantially given a sense of indigenous and domestic literary identity to Farokhzad's poetry and led to phenomenal creativity.Keywords: Domestication, Forugh Farokhzad, Wasteland, T S Eliot, Yuri Lotman. IntroductionLiterary inspiration has always been a way to get new ideas and a method for creation and innovation. In many cases, inspiration comes from a foreign culture, and new concepts and patterns are introduced to the literary system by external influences. In the 1940s, with the publication of the translation of the poem The Waste Land by T. S. Eliot, Iran's literary system faced a kind of symbolic invasion, and although naturally for a while the imported norms were too foreign and revolutionary for the audience, but the victory of the new trend made literature more flexible and rich. Thomas Stearns Eliot, an American-British poet, playwright, critic, and editor (1888-1965), published The Waste Land in 1932 and became the leader of the Modernist movement in the Western world with the transformation he created in English poetry. The Waste Land is a picture of the world situation after the World War (R.K. Abjadian, 2010: 65). In 1964, Bahman Sholevar translated this work into Farsi under the name "Sarzamin-e Harz" in Arash magazine. This poem is written in five different sections: "The Burial of the Dead", "A Game of Chess", "Fire Sermon", "Death by Water" and "What the Thunder Says".Forugh Farrokhzad (1934-1967) was one of the influential contemporary poets. After writing three collections of "The Captive", "Wall" and "Rebellion" which were published in the 1930s, she led to a great revolution that resulted in two collections: "Another Birth" and "Let Us Believe in the Beginning of the Cold Season". The poem "Let Us Believe..." is one of the best poems in contemporary literature. This work is associated with a completely social perspective and an approach to the political atmospheres of her time and a painful image of life, and the poet presents it with new techniques that show localization in many cases. According to Shafiei Kadkani, "the work form and poetic atmosphere and poetic world of poets like Eliot have been influential in Forugh's work. Those spiritual and spatial cuts of the last poems of “Another Birth” and all "Let Us Believe...", consciously and unconsciously, were influenced by Eliot and especially The Waste Land. (ibid: 227)In this article, we will answer the questions in the direction of literary localization, what changes did the poem "Let Us Believe in the Beginning of the Cold Season" have in the process of being inspired by "The Waste Land" and to what extent have the localization solutions added to the beauty and power of the poem "Let Us Believe..."? Literature ReviewJuri Lotman, the founder of the Tartu-Moscow school of cultural semiotics, has discussed the semiotic theory of culture in his various pieces, such as Culture and Explosion, The Structure of the Artistic Text, and The Universe of the Mind. Along with other theorists who were developers of analytical models of semiotics, he presented a model that analyzes culture and cultural productions as structures arising from signs within the world in which humans live. Lawrence Venuti has also described his theory under the title of the binary of domestication and foreignization in his book entitled The Translator's Invisibility. He believes that sometimes translation brings the foreign text under the control of the ideologies and discourses of the target language and adjusts it tothe values, beliefs, and representations of the target culture (ibid.: 68).In the field of research related to the localization of translation in contemporary Persian poetry, Ahmad Karimi-Hakkak, in the fourth chapter of the book "RECASTING Persian Poetry" (2005), uses Lutman's theory in some examples of Bahar, Iraj-Mirza, and Parvin Etesami’s poems has shown the art of localization and analyzed the effect of translation on these poems. This work is a new movement in the field of interdisciplinary research in translation and literature and has opened a new path for the researchers in these two fields, and the present research is an effort to continue this path. Also, an article by Akbar Shayan Seresht et al. (2018) compared localization methods in Persian translations of La Fontaine's Tale of the Crow and the Fox and analyzed localization in verse translations that had become a fashion in its time. The importance of this article is that during it, several verse translations of a foreign work were examined based on Lutman's theory, and a kind of evolutionary process was shown in the verse translations. These two studies overlap with the present article in terms of using Lotman's theory of cultural semiotics, but the analysis of localization in Forugh Farrokhzad's poetry is a new step taken in this direction because Forugh is usually mentioned as a defamiliarizing and alienating poet, and the creativity that emerged in the context of localization in her poetry has remained unknown.Much research has been done about Forugh's poetry, and it would take a long time to mention their titles; however, this article is the first research that examines the artistic and poetic structure of the poet's poem and the poem "Let Us Believe in the Beginning of the Cold Season" based on a scientific theory in order to explain the strategies and creativity of its localization that has not been shown so far. MethodologyThe present research was carried out in a descriptive way with the method of content analysis and an attempt to recognize and interpret the signs, and Lotman's theory was used to explain how the signs relate to the text and the extratextual context. According to Lutman's opinion, culture is a constructive generator that creates a social sphere around humans, and cultures in the process of attracting and rejecting a new membrane space, when elements and signs enter from the meta-system (foreign symbolic sphere) into the system (native sign sphere), are constantly being produced and reproduced, and it is possible to somehow manage and plan the created spaces. “The border basically acts like a special filter that selectively includes both "texts" (what is related to the domestic culture) into the sphere from other fields of culture, and "not-texts” (what is taken from foreign culture)” (Lotman, 1990: 137). "Texts can have a social function because of the limits of permeability and translatability" (Sarafraz et al., 2016: 88). The basic link between text structures and extra-textual context, the dual opposition between nature (non-textuality), intra-textual and extra-textual relations are features that Lutman mentions in his innovations. It is considered obvious that in conventional cases, the members of each culture consider themselves as domestic and the members of other cultures as foreigners (other). On the domestic side, life is orderly and meaningful; outside of it, there is chaos and disorder that is impossible to understand. This theory will enable us to understand how the poet has used different language possibilities in a new way and meaning to make them serve her specific goals. ResultsSuccessful examples of literary borrowing cause a revolution in the body of culture. One of the important factors in the dynamics of cultures is the influx of accidental texts from other cultures. The 40s in Iran was an explosive period from the point of view of cultural semiotics, and such periods are the basis for the creation of outstanding artists. A part of these creations is the product of localization and creativity that happened when the text entered the domestic system from a foreign sign sphere. The meaning-making process in the new text is the result of re-formulating the elements of the foreign culture through the native culture. In this article, localization in the structure of the poem "Let Us Believe in the Beginning of the Cold Season" by Forugh Farrokhzad, which was inspired by Eliot's Wasteland, is analyzed based on Lotman's theory. The results of the research show that the poet expressed the cultural and social characteristics of her era by making changes to the original text.By shifting, increasing, and decreasing the elements of the original text, the poet adjusted it to the literary and cultural requirements of the Persian-speaking society and moved from the meta-system to the system of native aspects, and the poet reconstructed her essence and personality through being inspired by Eliot's poetry. The essence of her character, which is an Iranian woman, is considered an individual set of important social codes, and in the process of inspiration, it has caused cultural differences compared to the culture of origin. With the help of repetition of some phrases and symbols, the poet has maintained the longitudinal connection of the poem so that in a structure with a diverse arrangement of the subject, the repetitions keep the thread of the reader's thoughts, and in this way, the stanzas of the poem are connected to each other with keywords. In Forugh's poem, the narrative characteristic of connecting different historical periods of Eliot's poem turns into different scenes from her life period, meaning that it has become the past, present, and future of her life. In most cases, Forugh has preferred to create an artistic image suitable to domestic culture for the concepts imported from the meta-system. She adapted the myth to her personal feelings as well as the Islamic tradition, and sometimes she made a personal myth that was symmetrical with the myth that came from the meta-system. In the process of Forugh's inspiration from Wasteland, a complex text was reconstructed in a complex way, which is related to a very wide range of cultural functions. In this process, Forugh used the symbols and content of Iranian mystical texts, and localization in interaction with defamiliarization led to the richness of the poem, and the text gained credibility and reliability in the cultural memory of Iranian society. Because the poet has related the elements of the foreign culture in a deliberately planned way with the elements of the domestic culture, which are in the center of the sphere of symbols.