An Adaptive Domain Partitioning Technique for Meshfree-Type Methods

An overlapping domain partitioning based on adapting nodes is presented for the meshless-type methods. The decomposition of the domain is carried out based on the distribution of the nodes produced rather than the geometry of the problem. A set of adaptive nodes is first generated using the dimension reduction and equidistributing along the coordinate directions with respect to arc-length monitor. The domain is then partitioned in such a way that the same number of nodes are allocated to the subdomains. A radial basis function collocation method is applied to each subdomain followed by assembling the global solution from the subproblem's solutions. A generalized thin plate spline with sufficient smoothness is used as a basis function in the collocation method. Some numerical results will be presented to show the performance of the proposed method

Meshless Galerkin method based on RBFs and reproducing Kernel for quasi-linear parabolic equations with dirichlet boundary conditions

The main aim of this paper is to present a hybrid scheme of both meshless Galerkin and reproducing kernel Hilbert space methods. The Galerkin meshless method is a powerful tool for solving a large class of multi-dimension problems. Reproducing kernel Hilbert space method is an extremely efficient approach to obtain an analytical solution for ordinary or partial differential equations appeared in vast areas of science and engineering. The error analysis and convergence show that the proposed mixed method is very efficient. Since the solution space spanned by radial basis functions do not directly satisfy essential boundary conditions, an auxiliary parameterized technique is employed. Theoretical studies indicate that this new method is very stable, though a parameterized problem is employed instead of the main problem

The Fourth Dimension of the World of Nature in Mulla Sadra’s Philosophy and Relativity Theory of Einstein

One of the challenges faced by philosophers throughout history of philosophical thoughts, has always been and is to find an adequate answer to the question of quiddity and existence of time and space. Thus, the present study aims to elaborate on the question of space and time in Mulla Sadra’s philosophy and its relationship with outcomes of modern physics. The study also intends to conduct an analytical comparison between these two views and clarify newer aspects of this complicated and vague question. According to principles of his thought system in his ontology and particularly his theory of substantial motion, Mulla Sadra’s view toward time has a closer concordance with findings of modern physicists like Albert Einstein. One of the most noticeable achievements of the present paper, considering ontological view of Mulla Sadra toward time, is to reach a comprehensive and vast view of the question of space and time covering space-time approach of theory of relativity and having the common issue of time in mind, develops an image of unity and connectivity of the world of nature with the four dimensions. The present study uses a documentary analysis research and uses library resources. The prominent works of Mulla Sadra and Einstein’ works on the Theory of Relativity were the main sources for this study. It is hoped that this view not only reveals further philosophical aspects of the issue of time but also help uncover newer approaches for physicists

The analysis of macro-structure of Parvin Eatesami's tales within the ‎framework of linguistic formalism

Linguistics, as the other sciences, has divided into branches one of which is macro-linguistics. IN macro-linguistics analysis, text is studied based on the relations among different parts of it. The objective of the present study is the macro-analysis of Parvin Eatesami's tales based on Woodbury (1987, cited in Fabb, 1997) - Khanzadeamiri (1379) formalist model. This study is descriptive and the methodology is quantitative content analysis. As a whole, the results of analysis showed that the model with some modifications is recognizable in macro-structure of Parvin Eatesami's tales. One of obtained conclusions in this analysis is that Advice constituent/episode is in the main focus in Eatesami's tales. The analysis showed that the model with some modifications is recognizable in macro-structure of Eatesami’s tales. In the analysis, 2728 lines/verses out of the total 6824 analyzed lines, 39/98 percent, has been devoted to this episode/constituent. So, advice constituent is the main constituent in Eatesami's tales, and this matter indicates the instructive essence of this work

Human happiness and good fortune from Farabi's perspective and their philosophical and cultural contexts

Seeking happiness, fortune, and perfectionism are in the essence of human existence, and without a doubt, all humans are in search of success, salvation, and happiness throughout their lives. Therefore, the issue of happiness and good fortune has always been the concern of thinkers and sages throughout the history in the field of psychology and anthropology. Al-Farabi, the second teacher, defined the happiness of man as "the good that requires pleasure, which is beyond him and the last thing that can be done by human beings" and Ibn Sina used "the best thing a living person has ever sought to achieve" and other similar expressions. Of course, other thinkers have also identified the happiness and good fortune of the human being, from a selected point of view. In this article, we first explain and analyze the views and rational and narrative approaches, then analyze Farabi's opinion on the issue of happiness and his inclination to other opinions, and finally we focus on the best speech in explaining human success and happiness

Application of adaptive mesh and domain composition techniques to a generalized boundary element method

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Genre of khaghani’s elegies

Abstract  Elegy in word is derived from Rasa-Yarso means weeping on dead people. It is also defined as enumerating deceased benefits and composing the poem about. Elegy is categorized into different parts as follows: 1. Courtier 2. Personal 3. Religious 4. Philosophical 5. Social 6. Fictional.   Not only did Khaghani prove himself at composing praise and commendation, lampoon and imprisoned poems, but also he proved himself at composing elegy. Commentators of khaghani’s poems know him as an exclusive poet regarding elegy- making. Also Khaghani composed some odes in loyalty mourning and the world transience as well as personal, courtier and religious elegies which are sub- categories of philosophical elegies. Khaghani’s “Ivane Madayen” ode is considered as a social elegy. In this article, one just analyzes the elegies that Khaghani composed about people. This type of elegies in Khaghani’s Divan are categorized in three parts: a) Personal and family elegies which are about Khaghani’s son, wives, girl, son-in-law, uncle and his cousin, b) Courtier or ceremonial elegies which are about Nosrat od-Din Espahbud Leyalvashir, Fakhr od-Din Manuchehr Shervanshah, Shervanshah’s children (Azed od-Din Fariborz and aljijak) and other courtier men, c) Religious elegies composed about Imam Mohammad Yahya, Sheikh ol-Islam Abu Mansoor Hafade, Azed od-Din bu Emran and other religious characters.   There have not been any comprehensive research projects conducted about Khaghani’s elegies. Nasrollah Imami had presented summarized explanations in “Composing elegy” book at Persian courtesy, in the part about Khaghani that were valuable, and he used them as the reference in this article. Two valuable articles were written about comparative literature: comparison of Khaghani’s and Hogo’s elegies about sorrow of their sons by Reza Irandust Tabrizi and “Elegy composing in Persian and Arabic courtesy with the help of comparing Khaghani Shervani and Abolhasan Tahami’s elegy by Naser Mohseniniya and Arezu Yazdanpanah Kermani. In Persian courtesy, elegy is often versified and it may have different genres, but the most frequently used genre up to the end of 8th century is the ode, and fragment genre, Refrain and compounding are next ranks. Among Khaghani’s elegies, twenty-one elegies are composed in ode genre, sixteen of which have row and five others do not have any row.   After ode, Fragment genre has more applicability in Khaghani’s Divan in elegies. Generally, he composed nineteen Fragments about the courtier and religious men. Khaghani also composed four composite-tie about his son mourning and government’s personnel. One thing to be noticed by poet about elegy is the proportion of verse with subject. Most of prosodic verses couldn’t be used in elegy. From the beginning of Persian poetry to the end of 8th century, Ramal poetical meter (faelaton foot) is the most usable and Gharib poetical metre (faoulon foot) is less usable one among others. In Khaghani’s Divan Ramal poetical meter with fifteen cases, the most usable poetical meter is elegy. After future, Mozare octagonal poetical meter (mafoulo faelato mafailo faelon) and khafif poetical meter (faelaton mafaelon faelon) are placed next with six cases. Mojtas poetical meter (mafaelon faalaton mafaelon faelon) monsareh poetical meter (moftaelon faelato moftaelon fa) and gharib poetical meter (faoulon faoulon faoulon faal) are less usable poetric matre in Khaghani’s Divan about composing elegy.   In Khaghani’s elegies like other poet’s elegies, imagination has been shown differently. Although Khaghani couldn’t hide his influence from the coming event, he also does not give up imagology. According to the conducted studies, one should say that Khaghani made nice images in elegy; images followed by formality, but its amount is less than Khaghani’s other odes. Simile is presented more than other imaginations in Khaghani’s elegies. Next step belongs to the metaphor. In addition to simile and metaphor among literary verses, hyperbole is of high frequency. This craft was so effective in making and activating marvelous tone. In courtier elegies, the poet tires to compensate lack of emotional burden by the help of exaggeration and where there is high emotional, aspect of exaggeration has no space or it is not suitable. After hyperbole, allegory is of high frequency among Khaghani’s elegies. Khaghani had basically used allegory in his uncle’s elegy and Imam Mohammad Yahya, Abu Mansoor hafade and Naser od-Din Ibrahim. In most of elegies, Khaghani starts his ode with an introduction on world transience and disloyalty of the day. Khaghani basically gives speech about universe transience and disloyalty at the beginning of men’s courtier and religious elegies.   Some of Khaghani’s elegies starts with poet’s mournful mood and the beaten poem. Khaghani started composing all his elegies about her wife’s mourning with description of his unpleasant mood. The beginning of Khaghani’s odes which he had composed, was followed by the addressee’s invitation to unanimity. All the factors are at the service of content in Khaghani’s elegies and they are used to activate the meaning of mourning and sorrowful space. One of these factors is row. Row is at the service of elegy content in accordance with the aspect of proportion in long vowel as well as semantic proportion. Of other factors used in relation with elegy one can name the adjectival proportion and similes for the deceased. For example, Khaghani used items like garden sight, cypress- figure and brilliant sun and in mourning of his wife, and in the morning of prophet’s names as well as religious men in making-image