A study of the text of Sam Nameh and certain indications found in two of its side stories suggests the conversion and transformation of certain myths of India in this text, myths whose themes were probably introduced into Persian literary epic first through ma li' l-Hind of Abu Raihan Biruni and then on a more extensive scale through the era of translation movements during the time of the Mughal rule in India and the early Safavid rule in Persia. Thus, probably they entered into Persian epic texts via these translations. This research shows: i) the way in which these myths are cited and put into rhyme in Sam Nameh is different from that of Abu Raihan ’s work, and ii) the author of Sam Nameh must have been little informed about these Hindu myths, by virtue of which the lack of knowledge about these myths on the part of the audience may be inferred. Moreover, given the time of the transfer of these themes from India to Persia, one can say that the timing of the creation of this work cannot be earlier than that of the rule of Jalal ad-Din Akbar in India if Sam Nameh happens to be the work of one single author, and otherwise, one can say that at least those sections in which figures of the Hindu myths are present must have been related to this hypothesized period.

Using comparative method, this paper seeks to illuminate the affects and effects of the tree of knowledge and the tree of existence in Sufi works and Kabbala Sefirot to show the similarities and differences of the symbol of tree in these two mystical schools. Explaining the evolution and development of this symbolic tree from a religious code to a mystical one and the share of these two schools in this evolution is the purpose of this paper. Concentrating on the idea of Tom Black, the Kabbalistic researcher, and structural similarities and detailed analysis it becomes clear that the structure of the iconic tree and its evolved and mystical form is the legacy of the Islamic Sufism, which adopted by Moses de Leon in Zohar fromMaqamat al-Qulub Shaikh Abu al-Hasan al-Nuri, and Shajarat al-kawn ibn Arabi. However, one cannot overlook the combined effect of Kabbala and Sufism on the fundamental and religious form of this symbol in Torah and Islamic sources. The heart plays a central role in the symbol of the mystical tree of Sufism and Kabbala. The seeker communicates with the other worlds through the heart and from microcosm enters the world of sublimity.

"symbol" is a word that also means apparent to the reader the whole wide meaning and practice of using or how to apply, and processing concepts become the symbol of the "symbolism", said. One can be extended metaphor prayer with the difference that the symbol rather than a hidden meaning are faced with a range of meanings and also no evidence Sarfh. Because of the diverse nature and mysterious symbol has also been influenced by the social and political conditions, its importance in contemporary poetry and the poetry of sacred defense is very high. So the important thing is that we are faced with a variety of symbols, features and quality of their applications in the field of poetry. This study investigates to get reliable answers to this symbol in the seventeenth Congress of Sacred Defense poetry and the poetry greats such as Salman Harati, Hassan Hosseini and Tahereh Saffarzadeh. symbols in the Sacred Defense poetry, the components and elements of the two groups of icons and symbols of the abnormal nature of the semantic divide into two symbols of black and white icons. Of course, in this context, as opposed to semantic and symbolic concepts of evolution and expansion of its main features are considered. Identify symbols and explore its implications for understanding poetry is very important and useful, so close to its categories (like metaphors that are similar to the symbol) identified and separated. Typically the application icon in the Sacred Defense poetry following two modes: the richness of literary poet or poem no more symbolic space, symbol applies, or the atmosphere of the poem is symbolic. In this case, to achieve meaning and correct image of poetry, symbols must be considered in relation to each other. White symbol frequency Sacred Defense poetry lot of black icons (to induce positive meanings of concepts) and to visualize concepts around two axes of good and evil in contrast to many of the white symbols are symbols of black or symbolic texture creation or evolution their meaning.

The Bird symbol has a special place in the literature of various nations. This symbol is also manifested in the mirror of contemporary Arabic literature. Arab poets and writers use symbol as a means of criticize of disorganized situations of society for various reasons. This paper aims to explain the symbol concept and the factors that lead the works of contemporary literature to be symbolic, and decodes the one of Muhammad al Maghut by using descriptive analyses method. "Humpbacked Bird"; as the name implies; is purely symbolic work that involves the political, social and cultural themes. One of the most important symbols that used in this drama, is sparrow, which is more frequent than other symbols. This symbol is present from beginning to end of drama and often it has different meanings and sometimes opposite cases and the end, overcome the positive means of bird to negative means of that. That is one of important results of this research.

The Ziloo, as an ancient Iranian hand-woven textile, expresses its own history in its varied and rich motifs. This variation and richness are especially discernible in Mehrab (Saf) design Ziloos from Maybod, especially made as floor coverings in mosques. Because of this close connection with the mosque as a sacred and religious location, it has assumed a symbolic religious meaning and is considered a part of the mosque complex. Mehrab (Saf) design Ziloo is thus a symbol of the ranks of the faithful in collective prayer with all of its religious implications.

The background of symbolic thinking goes back to Kant’s philosophy. Kant first stated it in his philosophical aesthetics. The most important aspect of Langer’s philosophy is to pursuit Kant’s schemas as symbols.Unlike others, Langer claims that art is not a mere expression of feeling and the feeling is not mere pleasure or pain but it is inner life or human mentality. Art or work of art articulates this. Like Cassirer, Langer claims that art is a symbolic form; in other words, instead of being a mere expression of feeling, art can be a symbol of it. It has an isomorphic relation with the structures of human feeling.In this paper, first we will present an explanation of symbolization as an important key in Langer’s philosophy, and then we will indicate the conception of feeling. Finally, we will discuss how a work of art is a symbol of feeling.

Although proverbs have particular structure and meaning, some rhetoric features can enrich them and increase the range of their meaning potential. One of these features is symbol. This study aims to analyze the animal symbols in some proverbs. To this aim, some animal symbols in proverbs mentioned in Bahmanyari will be qualitatively and quantitatively analyzed. There will be some statistical data presented as well as some samples qualitatively investigated in which the name of animals is mentioned, namely, non/domestic animals, birds, and insects. The research method is descriptive-analytic and the sample analysis consists of 6047 proverbs extracted from Bahmanyari. The findings suggest that the frequency of the animal symbols ranges from 48. 6% (the highest) for domestic animals to 8. 7 (the lowest) for birds. Some reasons could be attributed to objectification of abstract concepts, aesthetic features of proverbs, brevity, avoiding direct expression, and euphemism.

The paper aims at an analysis of "Ramz" I (symbol) phenomenon as one of the varieties of semantic deviation, in Nima"s poetry. We shall argue that the phenomenon under analysis can enrich any kind of literary work (prose and verse) and lead to eternity. In other words, by enriching and developing the meaning of his own symbols (using his own poetie licence), Nima, has tried to help the reader to understand and interpret his works accordingly.

Applying particle swarm optimization (PSO) algorithm has become a widespread heuristic technique in many fields of engineering. In this paper, we apply PSO algorithm in additive white Gaussian noise (AWGN) and multipath fading channels. In the proposed method, PSO algorithm was applied to solve joint multiuser and inter-symbol interference (ISI) suppression problems in the code-division multiple-access (CDMA) systems over multipath Rayleigh fading channel and consequently, to reduce the computational complexity. At the first stage, to initialize the POS algorithm, conventional detector (CD) was employed. Then, time-varying acceleration coefficients (TVAC) were used in the PSO algorithm. The simulation results indicated that the performance of PSO-based multiuser detection (MUD) with TVAC is promising and it is outperforming the CD.

Occupation of Palestine and Iraq’s invasion to Iran, as two enormous events of the twentieth century, overshadowed the lives of two lands. Meanwhile, literature-especially poetry-as one of the thinking areas of the Palestinians and Iranians, had witnessed a fundamental transformation. The poets of the two lands parallel to the enemy’s attack, showed resistance together with the combatants against the invasion of the enemy. “Smyh Alqasm” and “Hassan Hussein were two poems who left various worthwhile resistance poems. One indicator of this type of literature is the use of dramatic, symbolic and lyric contents.The present paper intends to investigate the reflection of changes caused by the onslaught of foreign enemies on the deployment of concepts and symbolic myths as well as the homology, differences, semantic developments and concept changes of these themes in the lyrics of Samyh Alqasem and Hassan Hosseini. The results indicated that both Samyh Alqasem and Hassan Hosseini have used symbolic and natural, human being, animal and place lyrics but symbolic and lyric meanings in the poets of Samyh enjoy more initiative, variety and extension.