ادراک حسی

Sensory perception is knowledge about the world outside the mind that is obtained through the human senses. One of the approaches to sensory perception is phenomenalism, which does not believe in the existence of objects independent of the mind, but considers the object as a phenomenon of the mind and denies the reality of physical objects. Although the subject of sensory perception is one of the main topics of philosophy and epistemology, looking at mystical works, it can be seen that the discussion of perception and the relationship between the object and the mind is one of the topics of mystical works, and many mystics, including Attar Neyshaburi, have addressed this issue in detail. Attar Neyshaburi has expressed the stages of cognition and perception in his poetic works. he considers the world to be nothing and non- existence, and he constantly emphasizes the issue of negating the world and its non-existence. The aim of this research is to show that Attar’s negation of the world and is not a religious or moral issue that results in the negation of this world in comparison with the otherworld. Rather, the insignificance of the world in Attar’s thought is an epistemological and philosophical issue that considers the world to be a form and phenomenon of the mind. In fact, Attar’s approach to the Sensory perception is a phenomenalist approach that considers the object to be dependent on the mind. In this article, using a descriptive-analytical method, sensory perception of Attar Neyshaburi are examined.

The categories of noumenon(existence) and phenomena(appeared) are considered as important foundations in Immanuel Kant's philosophical system. Through these issues, she has explained the consequence of her philosophical ideas about the unprovability of God noumenon and the recognition and knowledge of the world. Rumi in the discourse of the allegorical genre of the elephant and the dark house seeks to understand the dimensions of appearance and disappearance through the concepts of sensory perception and empirical cognition in parallel with the use of the formation and shaping of the imagination. Since there is no difference between the nature of the power of direct understanding of mysticism and the rational argumentative aspect of philosophy, this article tries to analyze this allegorical discourse based on this scientific understanding.The main question of the research is: was Rumi able to achieve the cognition of the object itself and phenomena through the mediation of imagination and perceptual sensory concepts? The data of this research have been collected by descriptive analytical method using the library study method. In general, the findings of this article show that Rumi, based on the knowledge and intellectual system of mysticism, has acted in line with the epistemological dimensions of the noumenon of God and the phenomena of the objects. Of course, he has tried hard to observe the issue of understanding time by creating a logical and coherent satiety.

The profound understanding of sensible- perceptive data has a crucial rule in order to analyze mystic texts. This research aims at investigating mystic Shath’s based on semiotic foundations of passions. The priority of visual perception in comparison with other sensible –perceptive data and their interaction reveal the phenomenological aspects of mystic Shath’s. Fluidity, dynamicity and flexibility of these resulted and diverse propositions besides constant relationship between subject and object reinforce this bilateral aspect. Thus, in this study, by adopting the approach of semiotics of passion to analyze and adjust mystic Shath’s, the presence and effect of the sensible propositions are examined in literary texts.

The image of French semiotics has been frozen since1960; for instance a formal discipline of working principle on complete texts, excluded from experiences, that is to say texts taken out of context, subjects separated from their history, and objects emptied of their substance, and the construction of meaning without presence. But, in recent decades we witnessed the transition from classical semiotics based on positivism to the phenomenological origins of semiotics. The main problem of this article is to answer this question: How does Eric Landowski, French sociosémiologue, emphasize the lost -dimensional sense of meaning and highlight concepts such as aesthesia, Presence, adjustment and dynamic interaction of subjects, complete both plans of meaning already present in the classical narrative semiotics, namely, programming and manipulation, and defines systematically four regimes of meaning.