Feasibility Study of Persian Irony Functions in Iranian Conceptual Art

Persian language in Iranian art has had many Functions a long time ago. This function has been revealed sometimes in imagery form for literary fiction in Iranian painting, and sometimes in ultra-modern in form of representation of words, letters and sentences in the works of Iranian contemporary artists, including Ghahve-Kaneh and Sagha- Kane style painting. After the 70s, line drawing also paid attention to values of words and letters too, among them some conceptual artists, with the pursuit practical background of language make different representations from words and letters in their works. What is necessary is that, Persian language is a treasury which has many capabilities for transmission of ideas and concepts. As for contemporary conceptual art, we can see that these capabilities have been neglected. This means that with Compilation of conceptual art and analysis of them. The question is, how can Persian allusions be involved in the structure of the creation of conceptual art? The findings of this descriptive-analytical study show that by doing this, with change substance in language, it means, word to art essence, ready one, produce, which follow construction of idea transmission of conceptual art, non-skillful being predetermination programing, non-subjectivity, also evidence and briefness

Combining Tradition and Modernism in Contemporary Afghan Women Painting

Afghan contemporary women painters relying on the foundations of modernism and the legacy of visual tradition have found a great presence in contemporary art in this country. In this regard, these painters have created artworks in political and social contexts, women's issues, portraiture, inanimate nature, and figures. The question is how Afghan contemporary women's painters have used the rich country's assets in their contemporary painting? And what are their attitudes to this old treasure? This paper provides results using a descriptive-analytical method and using the library and archive resources. First, not only the attitude towards the past and the visual capital of painting, both for men and Afghan contemporary women's painters, are not reactionary, but it is also wealth for their contemporary works; it has been promoted visually. It was also found that the functions of painting in the works of these female painters can be seen in the application of elements such as colour (coordination), golden colour, divergence or use frame failure by plant images, the combination of plant designs, geometric, illumination or divination, and Calligraphy with painting, as well as the combination of naturalist painting with plant designs, as well as combining elements such as Simorgh, Islamic architectural designs, or flowers and chicken with oil paintings. It was also found that two types of socio-political approaches to expressing women's concerns and issues and paying attention to painting to revitalize the heritage of this land have attracted the most attention of the Afghan contemporary women painters

Feasibility Study of Persian Irony Functions in Iranian Conceptual Art

Persian language in Iranian art has had many Functions a long time ago. This function has been revealed sometimes in imagery form for literary fiction in Iranian painting, and sometimes in ultra-modern in form of representation of words, letters and sentences in the works of Iranian contemporary artists, including Ghahve-Kaneh and Sagha- Kane style painting. After the 70s, line drawing also paid attention to values of words and letters too, among them some conceptual artists, with the pursuit practical background of language make different representations from words and letters in their works. What is necessary is that, Persian language is a treasury which has many capabilities for transmission of ideas and concepts. As for contemporary conceptual art, we can see that these capabilities have been neglected. This means that with Compilation of conceptual art and analysis of them. The question is, how can Persian allusions be involved in the structure of the creation of conceptual art? The findings of this descriptive-analytical study show that by doing this, with change substance in language, it means, word to art essence, ready one, produce, which follow construction of idea transmission of conceptual art, non-skillful being predetermination programing, non-subjectivity, also evidence and briefness

Combining Tradition and Modernism in Contemporary Afghan Women Painting

Afghan contemporary women painters relying on the foundations of modernism and the legacy of visual tradition have found a great presence in contemporary art in this country. In this regard, these painters have created artworks in political and social contexts, women's issues, portraiture, inanimate nature, and figures. The question is how Afghan contemporary women's painters have used the rich country's assets in their contemporary painting? And what are their attitudes to this old treasure? This paper provides results using a descriptive-analytical method and using the library and archive resources. First, not only the attitude towards the past and the visual capital of painting, both for men and Afghan contemporary women's painters, are not reactionary, but it is also wealth for their contemporary works; it has been promoted visually. It was also found that the functions of painting in the works of these female painters can be seen in the application of elements such as colour (coordination), golden colour, divergence or use frame failure by plant images, the combination of plant designs, geometric, illumination or divination, and Calligraphy with painting, as well as the combination of naturalist painting with plant designs, as well as combining elements such as Simorgh, Islamic architectural designs, or flowers and chicken with oil paintings. It was also found that two types of socio-political approaches to expressing women's concerns and issues and paying attention to painting to revitalize the heritage of this land have attracted the most attention of the Afghan contemporary women painters

A Comparative Representation of the Image of a Woman in Contemporary Afghan and Tajik Painting

Problem Definition: It is noteworthy to study the presence of women in contemporary painting in the two neighboring countries of Afghanistan and Tajikistan and to process similar aspects within a civilization like culture, language, and art. Moreover, the type of government of the two countries as the Islamic Republic and Republic, and the proximity of Tajikistan to Russia and other civilizational factors, despite all the similarities, have caused differences in the representation of women in contemporary paintings of the two countries. The current study questions which artists from these two nations have depicted the female face in their works, as well as evaluating the similarities and differences between them?Objective: The present study to explain and be aware of the similarities and differences between the representation of women in contemporary painting in Afghanistan and Tajikistan.Research Method: The present study follows a descriptive-analytical method by using existing library resources and archives.Results: The portray of women is similarly represented in both countries. In contemporary Afghan painting (from the Amani era until the end of Ghani's presidency), double symbolism in the representation of women in the realms of love and self-sacrifice is observed and in Tajikistan, the religious narrative of the woman as Eve and the beginning of the universe is also traceable. The female body is also a means of expressing and confirming the sufferings of this segment of Afghan society, and realism verifies these pains. On the other side, the representation of the female body in Tajikistan is based on the application and equivalency of Western academic teachings. In addition, realism in the recording of women's daily lives is seen in the works of both countries. Thugh, there is a  aimsstrong emphasis on problems such as women's suffering and tradition critique, freedom of speech, and women's rights in Afghanistan compared to Tajiks. The contrast between tradition and modernity is present in the paintings of both countries, but in Afghanistan, in addition to diversity in style and materials, it emphasizes the critical aspect, while in Tajikistan, this has led to more diversity and imitation in style. What is important in the representation of women in contemporary painting in both countries is the concept of respect and admiration towards women

Role of women painters in the restoration and preservation of miniature in contemporary painting in Iran (in the last four decades)

Despite the pervasiveness of modern visual arts principles, as well as diverse styles and techniques that are rapidly spreading in the world, Iranian painting (miniature) carries out both actual and potential visual and expressive functions. With the presence of female painters in the history of contemporary Iranian art, Iranian female painters, apart from the use of Western methods and techniques, have gained great success in using some of the visual techniques of this treasure in the contemporary Iranian painting.The current study aimed to collect and introduce these contemporary painters and assess and analyze their artworks by considering the presence of miniature in their artworks. The question is about the role of Iranian female painters in the restoration of the miniature in ontemporary painting in Iran and the miniature features they used to express new methods in contemporary painting.Despite all the influences of female artists in this field, there is a paucity of studies to introduce these artists and their executive procedures. Among these studies, we can refer to the thesis of "Elaheh Farahani" conducted in 2014 entitled "The Analytical Study of the works of the ancient and contemporary female painters, a case study of ten Iranian painters”. This study sought to introduce five miniaturists within the decades 10-11 AH and five contemporary miniaturists, including "Clara Abkar", "Mahin afshan pour", "Zinat Sadat Emami", "Farideh Tathiri Moghadam" and "Farah Osooli”.The next research is "The position of female artists in the history of Iranian Art” performed by "Marjan Edraki" in 2014, which only investigated the social conditions and the emergence of female painters, especially after the Islamic Revolution Iran

COVID-19 related stigma among the general population in Iran

Funding Information: GT is supported by the National Institute for Health Research (NIHR) Applied Research Collaboration South London at King’s College London NHS Foundation Trust, and by the NIHR Asset Global Health Unit award. The views expressed are those of the author(s) and not necessarily those of the NHS, the NIHR or the Department of Health and Social Care. GT is also supported by the Guy’s and St Thomas’ Charity for the On Trac project (EFT151101), and by the UK Medical Research Council (UKRI) in relation to the Emilia (MR/S001255/1) and Indigo Partnership (MR/R023697/1) awards. Publisher Copyright: © 2022, The Author(s).Peer reviewedPublisher PD

Global, regional, and national burden of colorectal cancer and its risk factors, 1990–2019: a systematic analysis for the Global Burden of Disease Study 2019

Funding: F Carvalho and E Fernandes acknowledge support from Fundação para a Ciência e a Tecnologia, I.P. (FCT), in the scope of the project UIDP/04378/2020 and UIDB/04378/2020 of the Research Unit on Applied Molecular Biosciences UCIBIO and the project LA/P/0140/2020 of the Associate Laboratory Institute for Health and Bioeconomy i4HB; FCT/MCTES through the project UIDB/50006/2020. J Conde acknowledges the European Research Council Starting Grant (ERC-StG-2019-848325). V M Costa acknowledges the grant SFRH/BHD/110001/2015, received by Portuguese national funds through Fundação para a Ciência e Tecnologia (FCT), IP, under the Norma Transitória DL57/2016/CP1334/CT0006.proofepub_ahead_of_prin

National, sub-national, and risk-attributed burden of thyroid cancer in Iran from 1990 to 2019

An updated exploration of the burden of thyroid cancer across a country is always required for making correct decisions. The objective of this study is to present the thyroid cancer burden and attributed burden to the high Body Mass Index (BMI) in Iran at national and sub-national levels from 1990 to 2019. The data was obtained from the GBD 2019 study estimates. To explain the pattern of changes in incidence from 1990 to 2019, decomposition analysis was conducted. Besides, the attribution of high BMI in the thyroid cancer DALYs and deaths were obtained. The age-standardized incidence rate of thyroid cancer was 1.57 (95% UI: 1.33–1.86) in 1990 and increased 131% (53–191) until 2019. The age-standardized prevalence rate of thyroid cancer was 30.19 (18.75–34.55) in 2019 which increased 164% (77–246) from 11.44 (9.38–13.85) in 1990. In 2019, the death rate, and Disability-adjusted life years of thyroid cancer was 0.49 (0.36–0.53), and 13.16 (8.93–14.62), respectively. These numbers also increased since 1990. The DALYs and deaths attributable to high BMI was 1.91 (0.95–3.11) and 0.07 (0.04–0.11), respectively. The thyroid cancer burden and high BMI attributed burden has increased from 1990 to 2019 in Iran. This study and similar studies’ results can be used for accurate resource allocation for efficient management and all potential risks’ modification for thyroid cancer with a cost-conscious view

Mapping 123 million neonatal, infant and child deaths between 2000 and 2017

Since 2000, many countries have achieved considerable success in improving child survival, but localized progress remains unclear. To inform efforts towards United Nations Sustainable Development Goal 3.2—to end preventable child deaths by 2030—we need consistently estimated data at the subnational level regarding child mortality rates and trends. Here we quantified, for the period 2000–2017, the subnational variation in mortality rates and number of deaths of neonates, infants and children under 5 years of age within 99 low- and middle-income countries using a geostatistical survival model. We estimated that 32% of children under 5 in these countries lived in districts that had attained rates of 25 or fewer child deaths per 1,000 live births by 2017, and that 58% of child deaths between 2000 and 2017 in these countries could have been averted in the absence of geographical inequality. This study enables the identification of high-mortality clusters, patterns of progress and geographical inequalities to inform appropriate investments and implementations that will help to improve the health of all populations