This is a study of processes of structural and functional diversification of the uses of three cognate verbs across the Indo-Iranian language family: “do/make”, “be/become”, and “give”. First, this study identifies over sixty distinct construction types in which these verbs are used, including complex predicate constructions, nominal predication constructions, serial verb constructions, and several distinct auxiliary constructions. Since the sets of verbs studied here are cognates, and share a common source, crosslinguistic differences in their uses are the result of grammatical change, and especially shared and parallel innovations of similar uses. Then, this study presents a taxonomy of different complex predication types with “do/make”, and shows that there are general patterns in the deployment of different types of complex predication to express different types of situations. These patterns exhibit “transitivity prominence” previously identified by typologists with “heavy” or “lexical” verbs. This study then shows that these patterns are the result of several distinct pathways of grammatical change, often motivated by analogy to existing constructions, giving raise to different types of N-V complex predication constructions. Then, this study shows that despite the fact that Indo-Iranian speakers can potentially deploy distinct constructions to encode each of the six nominal predication functions, sets of such functions are often co-expressed by the same structural coding means, especially clauses with cognate “be/become” verbs. This study uses a novel method, based on bipartite network graphs, to compare of the degree to which nominal predication functions are co-expressed in different languages. Finally, this study shows that the three sets of cognate verbs are more likely to be used similarity within branches and subbranches of Indo-Iranian than across branches. The scope of this branches, however, is different for different verbs: “do/make” and “give” behave more similarly in languages which belong to the same major branch, Iranian or Indo-Aryan, but “be/become” clusters are at different levels of subbranching. This is the result of the different types of innovations attested with these verbs: reanalysis and actualization motivated by analogy with “do/make” and “give”, and metaphorical and metonymy extensions with “be/become”.

This thesis presents a study of Pakistani documentary, with a focus on the ways in which it represents Pakistan’s national identity and history. The study examines three sources of documentary production – state media, commercial television channels, and independent filmmakers – as three distinct voices of Pakistani documentary. The study argues that the discourses of these institutions are governed by their respective ideological, political, and economic priorities. These factors result in two competing approaches to Pakistan’s national history and identity: right-wing and left-wing. The Islamic ideology of the state governs the discourse of state-sponsored documentaries. The commercial television documentaries take an anti-establishment position, however, they remain faithful to Islamic ideology of the state to a large extend. The independent filmmakers, on the other hand, offer a liberal perspective of history and a secular identity of Pakistan. Hence, they offer a critical view of the state’s Islamic ideology as a governing principle of historiography and identity formation. The notion of representation entails the issues of authenticity, credibility, and truth-value, associated with the various methods adopted by the filmmakers. Hence, attention is paid to the styles and modes of documentary, with a reflection on the documentarian’s individual approaches to realism. The documentaries have been placed within historical and political contexts considering Pakistan as a postcolonial state, which also functions as a critical framework of this study.

In the current global trade, the supply chain management is very important, because in fact thesupply chains are the new rivals which are competing to take over the market. The traditionalbusiness concept in Iranian clothing industry is the reason to why it didn’t find its proper positionin the domestic markets and the international clothing trade.Manufacturing and retailing in Iran are on different sides of the same coin and could make valuefor who knows to use it. It is the small firms that play the most crucial role in Iranian clothingmanufacturing segment. A big part of the manufacturing capacity is unfilled by orders because ofindiscriminate importing of the smuggled goods which are characterized by a low price and poorquality. In fact, Iranian clothing market suffers from “trust” to the products.Nowadays, traditional wholesalers, which are named “Bonakdar” inside of Iran, drive the Iranianclothing industry in the absence of a powerful retailing segment. They are responsible to buyproducts from different manufacturers usually without any order in advance, assort differentkinds of products and price goods to sell them to the independent shops in the retail segment.The apparel retail segment in Iran consists of many independent small shops besides a few retailbranch companies. Appropriate responding to consumer’s demand, which is considered as themain goal of the value chain, is absent in this segment. In fact, there is no research and designdepartment to investigate and respond the Iranian fashion trends.Both the international clothing retailers and Iranian clothing segment have a proper opportunityto gain advantages. The international firms have the ability to rearrange the shape of thedistribution centers by presenting high quality products in an affordable price. Collaborationbetween Iranian manufacturing and retailing segments in the global supply chains ofinternational firms could solve this problem in a sustainable way. / Program: Master programme in Applied Textile Management

The main object of this paper is an attempt to illustrate the present situation of TeheranUniversity Central Library and its 17 faculty libraries. The main aspects of these librarieswhich will be discussed are collections, staffing, management, shelving, cataloguing and thelibrary users. The findings of a survey which was conducted by the author in Iran in thesummer 1995 form the main basis of the discussions.Some of the problems in these libraries are mentioned and the possible solutions arerecommended.The study also examines the role and effect of the Islamic Revolution and de-westernizationpolicy of the present regime on these libraries.A historical background of higher education, foundation of the University of Teheran,librarianship and the whole range of libraries in Iran are discussed briefly.

Esta dissertação tem por objetivo a análise estética da Trilogia de Koker, de Abbas Kiarostami, em especial do filme Através das Oliveiras, investigando os efeitos da tematização que o cinema faz de si próprio ao apresentar um filme dentro de outro, intencionalmente quebrando a ficção em prol de uma suposta comunicação mais direta com o espectador, o que gera neste a sensação de diferentes níveis de realidade. Essa discussão passa pelo tema da morte ou diluição da autoria a partir de autores como Derrida, Barthes e Foucault. Lança-se no encalço do Autor moderno, constituído segundo Adorno desde o Dom Quixote, de Cervantes, autor não absoluto, desinformado do destino de seus personagens e que, por isso, inclui no relato romanesco recursos (inclusive a metalinguagem) que passem a evidenciar aspectos de verossimilhança para se fazer crível ao novo leitor. Nessa discussão, emergem questões relacionadas ao fim da narrativa e da arte, a recepção do cinema iraniano, e o embaralhamento dos registros documental e ficcional. Por fim, problematiza as possibilidades de se contar uma história na contemporaneidade. / This work aims to build an aesthetic analysis of Koker Trilogy, by Abbas Kiarostami, specially the film Through the Olive Trees. It investigates the effects of meta-language procedures in cinema, when a film inside another one breaks the linear sequence in order to produce a relational aesthetic communication with the spectators. This opens space for the perception of different levels of reality. This discussion is also related to the topic of the death or dissolution of the authorship, as it is understood in the works of Derrida, Foucault and Barthes. By extension, the ideas of end of narrative are also considered in the analysis. In this sense, it looks after the modern author, created, according to Adorno, since Cervantes Don Quixote: the absolute author, who does not know the destiny of his/her characters and, because of it, includes resources (even meta-linguistic) that put in evidence aspects of verisimilitude to make it believable. In this discussion, some questions related to the end of narrative and of art, the reception of Iranian cinema and the puzzlement of documental and fictitious registers appear. At end, it discusses the possibilities of telling a history in contemporaneity.

The Proto-Indo-European causative/iterative suffix *-ei̯e- was inherited by Old Iranian and persists in almost all Middle and Modern Iranian languages as -aya- and -ēn- (-Vn-) respectively. Comparably, in the Indic branch -aya- functions as a causative suffix in Sanskrit beside another suffix -āpaya which became the productive causative suffix -āvē- in Middle Indic and still used in Modern Indic today. Evidence shows eight Eastern Iranian languages- †Khotanese, †Khwarazmian, Parachi, Wakhi, Munji, Pashto, Ormuri, and Yidgha- using the morphological causative suffix in addition to the expected Iranian one -aya- or -Vn-. This alternative causative suffix is reconstructible as *-au̯ai̯a- and its attested reflexes have the forms -VwV-, -Vv-, and -wV-. Moreover, in two dialects of the Northwestern Iranian language Gilaki, Dakhili and Langaroudi, the causative suffix is not -Vn- but is rather -be(ː)- in the present tense. In this study I examine the synchronic function of the Gilaki causative suffix -be(ː)- as well as its diachronic origins. I show that Gilaki -be(ː)- primarily functions as a causative suffix and that it is a form which cannot be explained as an innovation within Gilaki itself through phonological or analogical change. As a matter of fact, I demonstrate that this suffix is better explained as deriving from PIr.*-au̯ai̯a- and is connected to the aforementioned Eastern Iranian suffixes. I also argue the reason for realization of /p/ and */u̯/ in -āpaya and *-au̯ai̯a- is phonological and probably goes back to some stages of PIIr.

This study examines the distribution and the status of the izāfa particle in Sorani Kurdish (Central Kurdish). It uses a corpus-based analysis to investigate the forms and the pattern of distribution of the izāfa particle in Sorani, a dominant dialect of Kurdish among the Western Iranian languages. The study details an investigation of the appearance of izāfa in various NPs using a variety of data mostly from the corpus but supplemented by the grammaticality judgments of native speakers. I show that next to parallel properties seen in other Western Iranian languages, Sorani Kurdish izāfa shows a form alternation. I examine the morphological status of the izāfa and other nominal morphological features in Kurdish as well as the sensitivity of izāfa form variation to specificity in Kurdish NPs. I argue that the differences and distributional incoherence of the izāfa within Sorani and across Western Iranian languages calls for a morphomic approach, which can be formally described using a constructional approach to grammar. The study focuses on the following questions: What type of head does the izāfa mark? What is the function of this marker? What are the constraints on its distribution? What are the syntactic and morphological rules governing its distribution?

In addition to box office success, Iranian filmmaker Asghar Farhadi’s films have achieved national and international critical acclaims. However, it is not only this rare achievement of critical and commercial success that sets Farhadi apart from other Iranian filmmakers, but also, his new approach to the issues of truth and morality which have been age-long themes in the history of Iranian art, literature, and cinema. Compared to his predecessors such as Abbas Kiarostami, Mohsen Makhmalbaf, and Jafar Panahi, Farhadi’s viewpoint on these themes is distinctly secular. This thesis focuses on the significance of the change Farhadi’s approach has brought on Iranian cinema by analyzing three of his critically acclaimed films, About Elly (2009), A Separation (2011), and The Salesman (2016). By creative use of narrative techniques such as narrative gaps and open endings and filmic techniques such as indirect-subjective point of view and handheld camera, Farhadi’s films highlight the relativity of the concepts of truth and morality through a secular and modernist lens. Such an approach marks a shift in Iranian cinema which, in turn, indicates an ideological shift within the contemporary Iranian society as well.

The study to be reported in the following pages is an exploratory investigation of the social experiences, adjustments, and attitudes of Iranian students at the Utah State Agricultural College. It was devised as a preliminary, not a terminal, investigation. Two possible avenues of further research were considered when the scope of the study was delimited. 1. A study of the social experience and adjustment of all foreign students in Logan, irrespective of nationality. 2. A study of the social experience and adjustment of Iranian students--in the United States and after their return home--irrespective of school attended in the United States. Both types of study were prohibitively broad and expensive for the present endeavor. But the present study should not be construed as eliminating the need for either--rather does it demand a follow-up.

The study focuses on the relationships between nomads, the government and the natural resource base of Iran as a problematical situation. The research approach adopted was action-oriented with an emphasis on the process of development through the integration of theory with practice in a critical learning system designed to improve the situation and emphasising the significance of systemic thinking and acting.The underlying rationale for the approach is that the relatively limited achievements in nomadic development and natural conservation to date stem from the fact that policies are: (a) based on a reductionist view point and analysis, which separates theory from practice, and neglects the diversity, complexity and recursiveness of the different dimensions of nomadic life; and (b) developed on the basis of government perceptions of the nature of the issues confronting nomads rather than on the basis of shared concerns with the nomads themselves. There were three phases of fieldwork which, when taken together, represent what might be termed a system of systemic research methodologies. The first phase of the fieldwork was an attempt to explore the problematic situation from the point of view of particular group of nomads and government agents. The second phase of research turned to an action-oriented approach to establish the process of conversation and mutual recognition and accommodation of change among ‘clients’ and the researcher as facilitator to help each group of participants (nomads and government) to understand their own position and worldviews, to help each group of participants to recognise and appreciate differences in their positions, perceptions, and to establish a framework for action and improving the situation within each group could benefit in a reciprocal manner. The third phase of research focused on the learning organisation as a strategy to improve relationships. The recursive nature of the research, both in terms of relationship between theory and practice and also its three phases, is reflected in the structure of the thesis. / Doctor of Philosophy (PhD)