dr. mohammad akvan

This article endeavors to elucidate the key concepts and views of Croce and Dewey within the framework of a comparative study of their philosophical systems, focusing specifically on aesthetics. The central hypothesis of this research is that the core idea of Dewey's philosophy, termed “immediate experience,” is a pragmatist interpretation of the closely related concept of “intuition” in Croce's aesthetics. Thus, both philosophers emphasize the role of aesthetics as a kind of a priori quality that ensures the unity and coherence of experience and knowledge. The defining difference lies in the fact that Croce, through the idea of “intuition-expression,” emphasizes the epistemological aspect of aesthetics, while Dewey conveys this same a priori quality in an ontological context (the process of the formation of experience). In other words, aesthetics, as an a priori quality, oversees the condition of unity and wholeness in the process of the formation of perception and guarantees the attainment of intuitive experience. In simpler terms, it is only by assuming a kind of aesthetic end (purposiveness without purpose) that the multifaceted and dynamic nature of perception is unified in an immediate and intuitive experience, and the possibility of “living” becomes feasible. A comparison of the views of Dewey and Croce, who belong to two contrasting intellectual traditions, reveals that the aforementioned hypothesis (i.e., the hypothesis that emphasizes the role of aesthetics as an a priori quality in the process of intuition and the formation of experience), regardless of whether its starting point is the realm of the objective (experience) or the realm of the subjective (intuition), leads to a unified conclusion, and its validity can be confidently asserted.

Examining the problem of evil in philosophical, theological and logical systems has long been the basis of extensive debates that have lasted until the present day. The explanation of the good system has been done not only from the point of view of the theologians of Abrahamic religions, but also from the ancient Greek philosophers, and accordingly, one of the most sensitive and at the same time the most complex elements of the discussion is the need to explain the nature of evil or the evil thing and its relationship with the goodness of the system. It has always been a source of controversy. The necessity of this discussion has caused the writing of this article with a descriptive-analytical method and with a comparative approach between the opinions of two contemporary religious philosophers, John Hick and Alvin Plantinga, with the aim of identifying their opinions about the concept, nature, and place of evil in the divine system. Is. The theoretical expansion of the views of these two and the formulation of the concept of evil among their structural thoughts shows that sometimes this concept has been the basis of structural similarities regardless of differences in viewpoints. John Hick believes that evil as an existential matter is not only the negation of the good system and does not negate the religious characteristics of God as the source of knowledge, power and absolute generosity, but is basically the founder of the spiritual and intellectual excellence of man.

Habermas's theory of communicative action has introduced a novel innovation in the fields of philosophy, sociology, and political thought. This theory integrates two perspectives—introverted and extroverted—using the concepts of the lifeworld and system, shifting from a paradigm of consciousness-oriented rationality to one centered on language in the form of discourse. It establishes a shared communicative lifeworld that encompasses a background of common meanings and structural elements, enabling social reproduction. The integration of action and structure theories effectively combines liberal and Marxist theories on society into a new critical social theory. Habermas's theory emphasizes the role of social reason, language, and dialogical ethics in liberation from oppression. This research focuses on examining the connection between communicative action, social reason, and inter-subjective agreement in Habermas's perspective and adapting it to social themes in contemporary painting.

Philosophy seeks to analyze things with a rational framework that can give a justified face to human behavior. Of course, the appropriate type of behaviors can be explained and described by assigning them to ethics and output called ethical behaviors. With this approach, rational reasoning and accurate presentation of issues in accordance with reason can be a way to achieve ethical behavior, which according to Richard Mervyn Hare requires receiving some principles as a default or at least accepting them. What can help moral actions and lead to it is education based on rational teachings and based on the rule of generalizability, universality and advice, which is based on descriptionism and forms the foundations of Hare's moral philosophy. Referring to how to teach and adhere to it in his philosophical system, he introduced indoctrination, practice and skill as his central model, which will eventually lead to habit in moral characteristics along with advice.

Falsifiability is a perspective introduced by Karl Raymond Popper, influenced by David Hume's critique of the problem of induction and Immanuel Kant's method of criticism in contemporary philosophy of science. It is considered one of the influential viewpoints in this field. Before the introduction of this theory, members of the Vienna Circle sought to establish a foundation for scientific laws independent of Aristotelian essentialism and rationalism. However, Popper highlights the failure of such efforts, arguing that a scientific theory is not the product of cumulative observations that could serve as proof or confirmation for it. Hypothesis, falsification, the primacy of theory over observation, approximation to truth, and realism constitute the core elements of the falsifiability perspective. This research employs a descriptive-analytical method, and its findings indicate that if observation does not play a positive role in the formation of theories, there is no guarantee of approximation to truth. Moreover, certain expressions of the primacy of theory over observation are incompatible with realism. Ultimately, Popper’s perspective entails a form of profound skepticism.

Catharsis is one of the most controversial ideas presented in the realm of aesthetics and the philosophy of art. Aristotle's lack of a precise definition of this concept in "Poetics" is one of the reasons for its ambiguity. This issue has led critics and philosophers to speculate about this idea and offer various interpretations of it. In this article, we will attempt to address the most prominent interpretations that have emerged regarding this idea. From this perspective, we will examine three significant interpretations of this concept that have been proposed in three different domains: ethical (purification), psychological (refinement), and epistemological (clarity). Alongside this, we will also explore the relationship of this idea with other aesthetic concepts, including tragic pleasure, tragic flaw, and tragic knowledge. Additionally, we will review the views of some philosophers, such as Nietzsche and Hume, who have had concerns about tragedy and have written extensively on the subject—particularly those passages that have contributed to the clarification of the concept of catharsis. Ultimately, we will demonstrate that the idea of catharsis is one characterized by uniqueness and plurality, which cannot be reduced to abstract concepts of thought and cannot be confined within the framework of a singular grand narrative. Instead, it finds its meaning and specific functionality depending on the perspective from which it is viewed or the context in which it is employed.

The soul is one of the most frequently used terms in Descartes’ philosophical works and one of the fundamental concepts employed in the structure of his philosophy. In fact, without considering the meaning and concept of the soul, one cannot perceive the essence of his philosophical system. He views the soul as an immaterial substance that is different from the body in the real sense of the word and can exist without the body. Descartes maintains that the soul is an essentially immaterial and decomposable substance that, after its destruction or the postmortem decomposition of the body, continues its life in the light of its essential immateriality bearing the memory of its union with the body. He has posed certain arguments on the immaterial nature of the human soul, such as the possibility of doubting the existence of bodies, the needlessness of the concept of the soul from corporal attributes, God’s power as to creating two elements with each one being clearly and distinctly perceivable, and the oneness and indecomposability of the soul. Accordingly, he believes in three substances of God, soul, and body in distinction from each other. He intends a true distinction when he refers to distinction of substances; however, this reference has become problematic for him, and he must clarify how two truly distinct substances can affect each other in unison. He has tried to resolve this problem by placing the vapor soul, the “pineal gland”, and the faculty of imagination as intermediaries or by establishing a kind of balance or even substantial unity between them. Nevertheless, the more he has tried to resolve the problem, the more he has been challenged. He has also presented two completely different standpoints regarding the eternity of the soul, which must be demonstrated based on rational and philosophical arguments. However, in his second stance, he introduces the mortality of the soul as a completely religious category and states that the eternity of the soul cannot be realized merely within the framework of the natural intellect and without seeking help from faith. Descartes has also been unsuccessful in this regard and failed to prove his claim.

Epictetus divides the affairs of the world into two categories: the external world, which was organized by Zeus, and human being has no freedom or responsibility in this area. The inner world: which is completely under the control of human responsibility. Epictetus considers the inner world in three areas: rational judgments or beliefs, feelings and emotions, desires and avoidances. According to Epictetus, rational judgments are the most important of the inner realms and determine the other realms. Epictetus gives many examples and conversations to prove that rational judgments are the cause of feelings and emotions and desires. Therefore, feelings and emotions as well as desires are the result of the functioning of the reason. If the function of the reason is correct, it results in good feelings and logical desires, and if the function of the reason is imperfect, it leads to negative emotions and unreasonable desires.The Stoics, unlike Plato and Aristotle, do not believe in non-cognitive elements in the human mind and consider the human mind as a rational whole. They refer all feelings and emotions to rational beliefs. "Epictetus also considers the human mind to be rational.

One of the important viewpoints in philosophy, especially in moral philosophy, is “relativism”. The critical and rational examination of relativism can lead to the right moral decisions and, accordingly, the right action in different circumstances. Richard Mervyn Hare is one of the prominent moral philosophers, who in his moral philosophy, speaking of relativism and realism, has expressed the criteria for the relativity of moral judgments. By using the rule of “generalizability”, he has tried to justify the moral judgments. Also, considering the role of practicing in using the moral principles according to the circumstances, he has tried to lead the moral agent to a skill that leads to the right moral action. Besides, in explaining his moral theory, Hare considers knowing the circumstances and teaching the moral principles as effective in making moral judgments, and finally, he links the foundations of his viewpoint to intuitive and critical thinking in order to strengthen it and to make it coherent. In this paper, we have tried to examine Hare’s viewpoint about relativism from a theoretical perspective.

Karl Popper is undoubtedly one of the most influential philosophers of science of the 20th century. As far as it can be said, the philosophy of science in the 20th century has been tied to arguments. Presenting a coherent and defensible theory about the methodology of science - as one of the most important cultural achievements of mankind - was one of Popper's most important research programs. This article explains Popper's attempts to criticize the logical positivist. After referring to the point of view of logical positivists, it is pointed out two important objections that Popper puts on this point of view: the problem of induction and the theory of the burden of observation; And thus, Popper challenges the theoretical foundations of logical positivism. After that, the author points to falsificationism as Popper's suitable solution for abandoning logical positivism, and by providing suitable explanations, he clarifies how Popper's falsificationism is a problem for positivism in his new scientific theory. It makes sense. Although this theory brings insights, but while referring to the criticisms of it, it is shown that falsificationism also faces serious weaknesses and could not reasonably observe the flaws related to the theory of observation and Eliminate induction.

In his philosophical structure, Descartes intended to organize, on the basis of mathematics, an efficient method of certainty for research and philosophy. The Mathesis is a body of universal and necessary truths of order and connection between ideas. According to Descartes' epistemology, man has become a researcher and discoverer who must discover himself. For Descartes, certain knowledge is possible, and in his structural cognitive style, action is a function of the form, while Dewey's cognitive style is a function in which form is a function of action and behavior. Examining the consequences of Darwinian views of the world, Dewey rejects Descartes' view: The question of the possibility of human knowledge has been fundamentally wrong. Dewey, by looking again at the absolute, the unconditional, and the certain, in philosophy, sees it only as a means to use if it results in success. Philosophy is not merely a mental organization of eternal and absolute truth, but a technology, method, and technique to be a means for social reform, regulation, and improvement of human and societal behavior.

The present paper aims to explain and explore the human beings in Machiavelli's view. By studying Niccolo Machiavelli’s works, everyone realizes that man is a natural truth which should be defined by observing his behavior. Machiavelli interprets man as a contemporary biologist and this is the turning point of his view. Unlike his predecessors who described man from their own certain philosophical approaches, he considers man to be a purely material being in his direct action with society, state and destiny, regardless of Christian ethics. To Machiavelli, man and his destiny have lost their superior meanings and they make sense as a force within nature and in action with society, city, and state, so that it forms his political systematic structure. The analysis and study of Machiavelli’s attitude towards human beings is the focus of the present study which has been done in a library style and descriptive-analytic method.

In the late Wittgenstein's view, language is a social and non-private matter, and in this case, the meaning of words will be based on compliance with the rules approved by a linguistic community. But due to the multiplicity of people's ways of life, the rules governing these societies are diverse and these rules show the meaning of words, as a result, a word will have the same meaning as the number of ways of life in which it is used. It is obvious that the most basic urban component that can describe this variety of language communities is the urban graphics of that place and at first glance the element of color. The element of color not only affects the understanding of smaller situations such as the design of a store, but also has a wider effect in giving identity to large urban environments. Therefore, the purpose of this research is to analyze the understanding of the spatial identity of the citizen society in the dynamic process of place-making through color, emphasizing the privacy of language in the aforementioned theory. The present research is theoretical in terms of its fundamental purpose, and the necessary information has been obtained through descriptive-analytical and library studies from reliable sources. The obtained results show that in order to negate the private language, the understanding of the environment through the sense of belonging of the people to the environmental graphic content has become general, and in this way, a color reference point that can be read by the general citizens can be reached. Relying on this point of view, the conclusion was reached that the public image has replaced the self-image by preserving individual memory, and in addition to preserving individual color tastes, by participating in people's lives, it will be possible to present an acceptable collective color pattern for urban graphics.

Sacrifice of Isaac by the command of God and by the hand of Abraham is a common narrative between Judaism, Christianity and some sects of Islam. In addition to Muslim and Christian sages and theologians such as Ibn ʿArabī', Kierkegaard, Augustine and Aquinas, this narrative has also attracted the attention of philosophers such as Thomas Hobbes, Kant, Hegel, Emmanuel Levinas and Derrida. Verses 1 to 19 of Chapter 22 of the Torah Genesis are the narration of Jehovah's command to Abraham to sacrifice Isaac. A command that Abraham, together with Isaac and his two slaves, traveled a three-day journey to Mount Moriah to fulfill, and just when Abraham took out the knife to slaughter his son, Jehovah's angel called him from the sky and forbade him to perform the sacrifice. Some church fathers, such as Clement and Tertullian, considered this story to be a prototype of Jesus' ascension to the cross. The explicit mention of the covenants and especially Paul's emphasis on the eternal power of God on the one hand and Abraham's faith in this absolute power that can bring even a slaughtered and dead child back to the arms of the father, and also Abraham's faith and suffering in this test are at the center Kierkegaard's attention and reflection are placed in various works such as Repetition, Either/Or, and especially Fear and Trembling. In the Holy Quran, the clearest reference to this narration is in verses 101 to 113 of Surah "As-Saaffat". This essay focuses on the religious-mystical thoughts of Ibn ʿArabī', a famous Muslim mystic, and Søren Kierkegaard, a Danish philosopher and theologian, who is mentioned as the founder of existentialism, compares Abraham's divine experiment to son sacrifice in Christian and Islamic narratives as the focus of his research. Ibn ʿArabī' in Isaac section of Fusus al-hikam (The bezels of wisdom) and Kierkegaard in the book of Fear and Trembling have attempted to interpret the divine experiment of Abraham. The main question of the research is the foundations and principles influencing the thought of Ibn ʿArabī' and Kierkegaard in the interpretation of the mentioned narrative. The results of the research show that the difference between the views of Ibn ʿArabī' and Kierkegaard is the type of view that each of them have on man and his place in the order of creation. The difference of opinion based on which is Abraham, the knight of faith and a believer in the “strength of absurd” in Kierkegaard's view and rejected in the interpretation of Isaac's face as a sheep according to Ibn ʿArabī'. Using the comparative method and relying on the data collected through library sources, this paper first compares the position of man in the thought system of Ibn ʿArabī' and Kierkegaard and then studies the opinions of both of them about the narrative of Isaac's sacrifice.

The immortality of the soul is one of the most important philosophical issues that are closely related to man and his destiny. How to understand immortality has a profound and direct impact on human lifestyle. Philosophers and other thinkers who have thought about man and his knowledge, his nature and destiny; the issue of immortality has always occupied their minds. In this article, an attempt has been made to compare and analyze the views of two prominent philosophers, namely Sadr al-Muta'allehin and Spinoza, who have thought about the soul, immortality and human destiny and have presented a novel and different point of view. Sadr al-Muta'allehin according to his special method in philosophy; That is, the use of argument, revelation, and intuition explains the soul and immortality, and finally offers a rational answer based on logical arguments, which has led to the theory of "physical occurrence and spiritual survival" of the soul. As a rationalist philosopher, Spinoza also has a unique view of the soul and immortality that differs from that of other philosophers. In many of his works, he has studied the issue of the soul and its nature and how to explain immortality. Based on "complete ideas", he justifies and explains the immortality of the soul in other ways. In this research, Spinoza and Mulla Sadra's views on the issue of the soul and its immortality have been studied with an analytical-comparative view.

The Nastaliq inscriptions of the Qajar period are among the valuable historical and ancient works of Tehran. This art, like the canvas, is a background for expressing different subjects, influenced by various factors, and Iranian and French elements have been considered in parallel. When the audience looks at the designs and decorations, at first they are influenced by beauty and especially its order, but after reflecting, they will be influenced by the meanings and signs of time. In this research, the inscriptions of Sepahsalar Mosque and the head on the national gate of the Qajar period have been studied and analyzed. The questions of this research are as follows: What are the semiotic characteristics of the Nasta'liq inscriptions of this period? How can a new reading of the codes hidden in the hidden layers of Tehran be achieved by using the semiotic principles of theorists? The purpose of selecting this research is to study this mosque and gate as one of the landmarks of the Qajar period, about which no comprehensive and complete research has been done so far. The results indicate that the decorative signs and motifs of these inscriptions and the decorative elements used in each language are the constituents of the second language which has created an implicit meaning. These linguistic signs have been repeated in other inscriptions in Qajar buildings; Influenced by the cultural, social and religious structures of the Qajar period, it has finally led to a significant form.

In contemporary philosophy, a lot of attention is paid to the philosophy of ethics and the history of philosophy. In this period, by referring to the previous philosophers, they are trying to add to the richness of philosophy. Stoic philosophy is one of the courses that is being discussed a lot now. Stoic philosophy deals more with moral issues and moral psychology with an educational approach. Due to the importance of the issue of ethics and the psychology of ethics with an educational approach in the contemporary period, there is now a lot of research on Stoic philosophy. There are many philosophers in the Stoic school, and one of the most important of them is Epictetus. Many books have been written about Epictetus' thought. One of the greatest exponents of Stoic philosophy is Anthony Long, who has written many books on the opinions and thoughts of Stoics, as well as the description and interpretation of Epictetus' thought. Long considers the unity and coherence of Epictetus' philosophy in four fundamental concepts, which have a strong connection with his educational approach. They are: freedom, volition, judgment and the integrity. In this article, the basic concepts of Epictetus' educational philosophy are analyzed according to Anthony Long.

In proposing his doctrine of creation, Avicenna is under the influence of Aristotle and Neoplatonian theory of emanation as well as Islamic theologicians and religious texts. This is why his thought is basically different from previous thinkers. While he defines “the agent” as “emanatory” and “cause of existence”, he believes that the relationship between the beings and the agent is based on an existential relationship. With minor amendments, his theory of “creative foreknowledge” can be proposed as a prominent theory about the origin of emanation of beings. He examines divine knowledge by referring to “knowledge by presence” and “unity of the knower and the known”. Given his comments about knowledge by presence, the divine knowledge about the created beings including mubda'at, mukhtara'at and mukawwanat can be explained based on his theory. Particularly, he explains divine knowledge about the created beings through the divine knowledge of his own essence. Then the emanation theory has not been neglected by later philosophers and has been considered as one of the most rational interpreatations of God as the creator and agent and of the creation of world. In this article. We have tried to explain the relationship between the creator and the created based on the emanation theory of Avicenna. The theory of emanation along with We have tried to explain the relationship between the creator and the created based on the emanation theory of Avicenna. The theory of emanation along with the divine knowledge has been proposed as the basis of “creation out of nothing” (creatio ex nihilo).

The present article studies and analyzes two different viewpoints on art and philosophy of contemporary art. On the one hand, Arthur Danto's philosophical views on the challenges of definition of art that lead to the theory of the End of Art and the Death of Painting, and on the other hand, the thought and works of Gerhard Richter, which led to the revitalization of painting. According to Danto's theories, the main purpose of this research is to study the position of painting after its announcement in the works of the German contemporary artist Richter and seeks to respond to topics such as the definition of art and the role of aesthetics in contemporary art. The main question is: why and how, after technological advances in the structure and methods of creating and producing works of art, the entrance of new media and challenges in the basic concepts of aesthetics, the art of painting returned to the Avant-garde  art scene and revived? To answer this question, Danto and Crimp's views on the End of Painting were first attention in a descriptive-analytical manner, and then the important role that Richter played in reviving the painting was discussed. The results of the research show that in such conditions, Richter knows painting as something beyond the image, and as this process continues, he opens a modified view of art history, which is a way to find personal and historical language in postmodernist experiences. Arthur Danto's attempt to evaluate Endism in the late twentieth century has been a source of inspiration for many contemporary artists and theorists. He believed that painting could survive only if it negated itself and could continue the efforts of conceptual and avant-garde art. Danto does not claim that no one works in art anymore, nor does he claim that no good art is made anymore, but he believes that a certain history of Western art is over and that "Art after the End of Art" pursues a new goal. In the face of this pluralism, Gerhard Richter focused his artistic work on how to continue painting in the face of the End of Painting and created a collection of artworks in which a critical and in-depth understanding of art history can be found. His strategy was to cope with the End of Art and break the deadlock of painting in the 1960s by turning to photography and confronting the efficiency of photographic imagery as a means of representing the outside world. Richter turned to photo-painting as a way to deal with the crisis in painting. Instead of creating his subject or inventing it, he turned to painting from photographs, thus trying to overcome the artificiality of painting and bring reality back to his artworks. But what is interesting about his work is the connection with his predecessors, the endless sequence of realism and abstraction that is evident from the juxtaposition of the paintings. A realistic view that goes to abstraction in the next work and reality is redrawn with a reference to abstraction. An endless rotation that spins on Richter's career path. The general goal is to know and discover correctly the issue of the End of Art and the Death of Painting and to determine the boundaries of art from non-art in the contemporary world and to explain the impact of these philosophical theories on art. When signs of Death of Painting were ubiquitous in the 1980s, even in the painters' own works, artists allowed their paintings to blend in with alien elements such as photographic images. Only in this kind of manifestation, which was in fact a kind of conceptual painting, could painting have a place for itself in the life of new art, and there was no way for it, except to infiltrate itself in some way in critical discourse and avant-garde approach and try to theoretically challenge art and painting while creating a work of art. In the contemporary interpretation, art was no longer a process of creation and construction, but a product of study, thought, and theoretical challenge. Danto found an infinite variety of art, as if the contemporary artist had invented a new kind of it, so that if one wishes, can interpret the End of Art not as the beginning, but as an invitation to unfettered freedom. He guided the way for a new kind of critique that could help us understand art in the post-history era. On the other hand, Gerhard Richter willingly declared his heartfelt allegiance to the great tradition of Western painting, and with his diligence in this field, he revived the Painting after the End of Painting. Richter's every attempt to add meaning to the photographs was his attempt to create illusion and nothingness. He used the artificiality of his artwork to cast doubt on what people thought of the photographs. If there is nothing to cherish, one's belief in the reality of photography is challenged. In this regard, Gerhard Richter's message should be clearer than anyone thinks. The truth has never existed. Therefore, enjoying art never seeks reality or truth, but pursues the labyrinth in the image, uncertainty and nothingness. This paper is extracted from PhD dissertation titled «Analysis and Criticism of Arthur Danto’s Theory about The End of Art and The Death of Painting Based on Gerhard Richter’s Ideas and Works» written by the first author under the supervision of the second author at the Central Tehran Branch of Islamic Azad university.

Acquiring identity and getting rid of its crisis has always been an important issue for human societies. Man is human because he is an identity-making being, therefore, social identity is one of the main modern concerns of urban man. Since “identity” is a set of attributes that distinguish an individual or a community from other individuals and societies; Urban graphics, according to these criteria, become personalized and independent. In the meantime, the similarity of individuals to each other for the acquisition of collective identity and the difference between the individual and others for their distinction for personal identity is a contradiction that always challenges urban graphic designers. Therefore, the purpose of this study is to investigate the two components of similarity and difference and their function in urban graphic design and find new ways to identify urban places. The results of the above research show that the components of similarity and difference in urban graphics are able to extend the dialectical model of identity to something beyond mere sociability. In this regard, identification in urban graphics lies in the difference that individuals have in individual lives, and to some extent they are made of similarities in their collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences. The present research has been done with a qualitative method and library studies, and after obtaining the initial data, the data have been analyzed using the content analysis method. The city is a dynamic and extensive social complex in which three levels of movement, mechanical, biological and social are intertwined and associated with various types of sub-complexes and sub-complexes. Obviously, urban identity is a collective identity that becomes meaningful by objectively crystallizing in the physics and content of the city and leads citizens to become citizens by creating an association of public memories in citizens and belonging to them. Therefore, although the identity of the city is itself a consequence of the culture of its citizens, but it affects the process of citizenship and can lead to the development of criteria related to participation and judgment of observers and residents. In the field of urban identity studies, urban graphics is a complex and multidimensional concept that is currently used by experts and practitioners to express the desired desires and aspirations for a good and ideal city. In this study, researchers intend to examine identity in urban graphics in both individual and social contexts, and among these, the main focus is on addressing the two components of similarity and difference in identity. Therefore, the present study was conducted to investigate the significance of similarities and differences in identity expression and its effectiveness in urban graphics. The results of the present study allow us to examine individual and collective dialectics among the citizens of an urban society and emphasize the critical role of urban graphics in determining the identity of citizens. These results are:-Urban graphics are a great way to think about how the city can help people identify and turn an external definition into an internal definition of similarities and differences, and can transform the dialectical model of identity. Expand to something beyond mere sociability. In this regard, the determination of urban identity lies in the difference that individuals have in individual lives and to some extent are made of collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences.  -Ethnicity, gender, history and lineage, religion, occupation and class, place of residence, etc. are all characteristics that are intertwined in a contemporary city, and this pluralism is an increasing need for a common denominator. It reflects a group and a group by observing the similarities and differences of individuals, and therefore this interaction must be created in the right way. These conversations between citizens and urban graphic elements transcend the boundaries between the individual, the group, and the city, creating an umbrella of solidarity and cohesion under which all individuals can take refuge. - The importance of urban graphics and human identity on the one hand and the importance of discussing identity crisis in the present age due to globalization and unwarranted dominance of technology and especially the virtual world in the age of communication on the other hand, is one of the most important reasons This is the problem. - Since the impact of the environment on humans and vice versa has been fully proven, and even in a dimension beyond the impact of the environment, we can refer to the direct relationship between environmental identity on humans and vice versa, as well as environmental identity crisis on humans and vice versa. Identity in urban graphics and its management is mandatory. - In addition to the effects mentioned above, the presence of human beings in the environment and urban spaces is an undeniable and even mandatory presence, and therefore these effects are completely involuntary and it seems that by controlling and managing the conditions of the spaces, the type of effect and The relationship between man and space must be controlled.

Phenomenology for Hegel is an idea defined in the book Phenomenology of the Soul. In this book, which was a prelude to his entire philosophical system, on the one hand, he considered the soul as the only truth that governs the world in which the processes of knowing the world are manifested, and on the other hand, he transcended human understanding beyond the realm of daily experience. He interpreted philosophical knowledge more deeply. On this basis, it can even be said that the rule of the soul of the world is in some way based on philosophical knowledge and the process of cognition based on human inner experience. Hegel therefore began his work from the experience of ordinary cognition, that is, sensory certainty and comprehensibility for all human beings, and gradually advanced the evolution of the soul to the deepest layers of cognition, namely perception, comprehension, self-awareness, and reason. In Hegel's phenomenology, dissatisfied consciousness is a stage in the evolution of the freedom of self-consciousness that follows the scene of master and slave, portico and skepticism. These stages represent self-awareness, which is increasingly aware of itself as negative. This study aims to explain what and how dissatisfied consciousness is in Hegel's philosophy. In this regard, first Hegel's phenomenology and how to promote consciousness in the soul from his perspective is examined and then the concept of dissatisfied consciousness is expressed and then Jean Wall's view on Hegel's dissatisfied consciousness is presented and finally the reasons for the importance of his view are interpreted.

According to Darwin's theory of evolution, John Dewey wanted to change the way we look at the world around us. In the pre-modern days, he strived to achieve the promise of modernity, which was progress and advancement in all fields. Dewey not only foresaw such a step, but also studied the way through it. In this article, we begin with the years when Dewey was an ardent Christian, and deal with the time when he became fascinated with the evolutionary sciences and developed his theory of "experience" with a rationalist approach. According to Dewey's naturalistic approach to man, we are confronted with religious experiences that, in the evolutionary process, are a response to basic human needs and have emerged in the context of different cultures in the form of different religions. In Dewey's view, "religious experience" is a personal dream of man. God, the Hereafter, religion and supernatural things are of this kind. These things are born of human exchange and adaptation to his environment. So for Dewey, there are no other worlds and worlds with different levels or parallel worlds that have recently been expressed on the basis of scientific hypotheses. Spirituality, religion and morality are all natural, experimental, real and of course valuable. Dewey considers man as an organism among millions of other living beings and in connection with them, and deals with the application and function of religious experiences in daily life.

Avicenna has discussed the pleasure of artistic and natural beauties in several of his works. Avicenna's views on the pleasure of artistic and natural beauties are often expressed under the more general concept of pleasure and are scattered in works with various subjects such as theological, logical, natural and mathematical works. He also discusses pleasure in relation to the perception and the perceptual faculties of the soul. In addition, an important and significant part of Avicenna's discussions about pleasure is devoted to pleasure of the arts, especially the representative arts.Since the work of art is considered sensible, the question arises as to which perceptual faculties of man the pleasure of the work of art depends? Does the mere fact that a work of art is a sensible thing, means that the pleasure of a work of art is considered a sensible pleasure? Do other perceptual faculties, including the internal sensory faculties and the rational faculties, also contribute to the perception of the work of art, and does the pleasure of the work of art also depend on them? In the case of each of these faculties, including the external and internal sensory faculties and the rational faculty, the question can be asked how important and effective they are in perceiving the beauty of the work of art? In the present article, an attempt has been made to answer these questions from Avicenna's point of view. Methods and Materials:The research method of this article is fundamental. This research was conducted using a library research method, and the method of describing and analyzing information in this research is qualitative. The claim of this research is that according to Avicenna's views, the pleasure that is obtained from works of art, as a kind of sensible things, is not merely sensory pleasure and dependent on the five external sensory faculties.

To examine this claim, the characteristics of aesthetic pleasure and its subjects as well as the epistemological status of this pleasure are studied and the pleasure of the arts of poetry, painting and music is explained from Avicenna's point of view. Finally, it is shown that the aesthetic pleasure of works of art is first of all a rational pleasure and depends on the faculty of reason and then, respectively, is an imaginary pleasure and depends on the faculty of imagination, and finally, is a sensible pleasure and depends on the perceptual faculties. Among the faculties of external perception, the faculties of sight and hearing have the greatest ability to obtain aesthetic pleasure from the arts, respectively.

The findings of this study show that from Avicenna's point of view, each of the external and internal sensory faculties, and to a higher degree, the rational faculty, have their own aesthetic pleasure. External sensory faculties, namely sight, hearing, smell, taste, and touch, each have limitations. In this way they can only enjoy what they can comprehend. But the range of pleasure of the internal faculties is much greater than the pleasures of the external faculties. Because all the sensory forms perceived by the external perceptual faculties are grouped together and interconnected, there is more pleasure for the internal faculties. This is why the imaginative faculty enjoys the perception of images preserved in the imagination. For example, the imagination, by preserving and storing sensible auditory forms of musical notes, makes it possible that the audience's pleasure is not limited to single notes and sound type, but can understand the sequence of musical notes and enjoy them. Ultimately, it is the faculty of reason that in the strict sense of the word can enjoy the pleasure of perceiving beauty. Because from Avicenna's point of view, beauty lies in features such as proportion, composition and symmetry, and although the audience first perceives data from a sensible object through sensory perception, but the perception of features such as proportion is specific to reason. Accordingly, aesthetic pleasure is at its highest dependent on rational perception.According to Avicenna, irrational pleasure is a pleasure that is aroused, but without thought and reflection, and is appropriate to nature and the senses, but hearing and sight give pleasures to the soul that are not merely by nature, but are rational, because they refer to nonsensible meanings, for example, when one sees a beautiful work of art, one is drawn to it and tends to liken it.The results of this study show that according to Avicenna, since the external and internal senses present the works of art to the human intellect and the intellect recognizes their beauty, the perception of beauty encompasses all levels of human cognitive faculties. Also, since aesthetic pleasure follows the perception of beauty, the perception of beauty produces different levels of pleasure, at least as much as it involves perceptual levels.

In this article, with the analytical approach of Allameh Tabatabai's theories, the issue of social reason and its function is dealt with. Present reason in it so that this approach takes Allameh's social principles out of extreme and secular relativism. While rereading the theory of employment and credit in the form of an ontological theory, we will extract its layers on the necessity of justice and social laws. Slowly Collective life from the point of view of Allameh has been subordinate and not by nature but due to urgency. Allameh considers the validity of society as related to the validity of justice because balanced life is the justice that is validated. Achieving justice and its permanence requires the support of religion. Introduces the guarantor of justice.. Achieving justice and its permanence requires the support of religion. Introduces the guarantor of justice.. Achieving justice and its permanence requires the support of religion. Introduces the guarantor of justice.