perspective

Purpose: The main objective of this research is to develop and evaluate measures of rural housing landscape and the effect of strengthening on rural housing landscape of the village of Ahmedabad in Bahabad. The main objective of this research is to investigate the effect of rural housing rehabilitation on the landscape of Ahmadabad village from Bahbad which is based on the concept of landscape assessment. Design/methodology/approach: The purpose of this study as a methodology is applied, descriptive and field study. For data collection, documentation and survey method using a questionnaire for residents and technical observers have been used. To analyze the variables and indicators of the study, SPSS software and Chi Square and t tests were used. Also plan to analyze the effects of strengthening rural housing and perspective view and the village of Ahmadabad factor analysis, Bartlett test and the KMO indicator. Finding: Results indicate that strengthening many effects that may be positive or negative on the six performance indicators, aesthetic, economic, social and physical environmental and village have been studied. The results of the first test showed that some of the criteria related to performance indicators and aesthetic as due to zoning height, the proportion in the building, according to the settled units, compliance with the structure and the executive management and oversight of the village, in the 99% of variables appearance to furniture, flexibility and readability buildings, spatial unity and consistency of building styles, harmony between form, at 95%, which indicates a strengthening effect is significant. The second test results show that all the criteria of physical, economic, social and environmental influence of strengthening the fabric of the village of Ahmadabad to 99% to account for a significant level. Research limitations/implications: A lack of support from government agencies and the lack of statistical information on the type of tissue construction and existing buildings in the village Practical implications: According to research findings that show the direct relationship between the resistance and the perspective of the village, in the implementation of strengthening, the choice of materials facade and their implementation should be in a way that in addition to the rules and regulations of comprehensive plans and detailed and the high council urban Planning and architecture of Iran, offered to meet six criteria. Originality/value: Original innovation is in the provision of rural landscape assessment criteria. These criteria can guide those involved in retrofitting buildings rural housing. The proposed criteria can be used to analyze the beauty of the landscape, the villages designed to be used.

This study tries to show that how viewpoint functions in discourse. As it will be clarified, it is highly related to the intention of the speaker/writer, and as a result, the orientation (s)he adopts in the discourse. Deictic markers function as discourse markers to fix and anchor time, place, agent, and other discursive elements. In this way, the viewpoint adopted by the enunciator/utterer is determined. Different types of viewpoint, then, are introduced and exemplified. Its relation with perspective is also examined.

Perspective is one of the factors involved in the diversification of schema. The viewpoint from which one looks at a scene somehow affects the process of semantic representation of that scene. Every sentence has its special schema drawn upon the scene in question, and adopting different points of view towards the same event will result in the speakers’ choosing different linguistic structures to express the event. Therefore, perspective is one of the most salient structure-formation processes that has received much attention from cognitive linguists. Cognitivists interested in linguistic impacts of perspective, following Langacker (), have laid their study on the assumption that the relative status and the angle of vision influence what language is used in describing certain situations. However, the question in this regard is whether or not the two parameters meet the adequacy required both for describing and for explaining different scenes linguistically. The answer seems to be that the specific perspective taken by the speaker is itself very much based on some further elements as animacy, dynamicity, size, and speaker. Present article is therefore written in order to question the problem of perspective, and the elements that are likely to bear upon its linguistic representation in Persian. Furthermore, it will also be taken into question if, according to what cognitive linguists argue for, there is such a universal cognitional framework common to all the human beings. For this purpose, a body of Persian written and spoken data, gathered from narrative dialogues and everyday talks, is to be examined inductively. Although this is an unprecedented study on some fundamental cognitive-semantic issues, the results would pretty hopefully apply in much more detailed semantic analyses of sentence perspective as well.

Purpose: In participatory approach to second language teaching and learning, students actively engage in their own learning process and collaborate with others (Cobb, 1994; Greeno, 1998) to achieve their goals. Also, collaborative learning has been shown to encourage the growth of student interdependence (Bruffee, 1999), responsibility (Totten, Sills, Digby, & Russ, 1991), interpersonal skills (Rymes, 1997), and cognitive and critical thinking skills (Johnson & Johnson, 1986). Methodology: Adopting a sociocultural perspective, the present study has attempted to explore the attitude of teachers and learners toward the effectiveness of the method. In so doing, 60 Iranian EFL learners from two intact classes participated in the study, in which the learners from the two classes were randomly assigned to one control group and one experimental group. For fourteen sessions, the researcher in the control group class followed her regular teaching practice through the conventional book-based method of conducting an English class. In the experimental group class, however, the researcher adopted the participatory approach tasks and activities, in which she applied various participatory approach-based techniques, activities, role play, and problem solving activities, group work and collaborative tasks in the classroom instruction. Findings: Results of the comparison of the effects of the experimental participatory group and the control conventional group revealed that although the students in both groups improved their scores on the IELTS posttest, there was no statistically significant difference between the experimental group’s overall performance and that of the control group. Conclusion: Results of the interview with the students and teachers also revealed that both the students and the teachers had positive attitudes towards implementing the participatory approach and they were willing to use at least some of the tasks and activities in their future courses.

As a result of introducing European art to traditional Persian painting, the multidimensional space of the traditional Persian painting tended to linear space. In other words, the Persian painting based on the positional perspective created a multi-dimensional space and another method based on linear perspective was done to create a temporal and spatial unity. The confrontation between the two methods remained challenging until the present day. Contemporary artists have used tricks to resolve that challenge, one by using new media as a modified version of the old medium. In this regard, animation as an up-to-date medium has been able to develop the traditional Persian painting narrative and aesthetic capabilities by visually adapting them. But the question that arises is what features should this type of animation have? Or what changes does the traditional Persian painting require in connection with the field of moving pictures? This research attempts to examine the principles and visual characteristics of two media, and the main goal is determining the scope of necessary changes in the traditional Persian painting based on the aesthetics of animation. Hence, it examines how this was done in "Hazar Afsan- Kerm Haftavad" as one of the new animation productions.