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Heidegger believes that metaphysical understanding of art and aesthetic theories have a fundamental influence on our relationship with art and works of art. This issue has spread both to the field of understanding of works of art (as an audience) and to the field of creation of works of art (as a creator). The path that Heidegger offers to go beyond aesthetics and even beyond subjectivism is the "hermeneutic phenomenology of great works of art". This path, from his viewpoint, is the only way to approach the essence of art. In this phenomenological path, he reaches a circle. A circle where one side is the truth of art and the other side is the work of art. This paper seeks to examine how Heidegger, through a phenomenological-hermeneutical analysis of some great works of art, shows that it is possible to phenomenologically investigate the essence of art and take a step towards discovering the truth of art. In this regard, this paper tries to recognize some inherent elements of art. "The happening of truth in the work of art" and "set up the world as a result of the work of art" are among these inherent elements.

Derrida wrote an extensive and detailed introduction to Husserl's treatise "The Origin of Geometry" and while interpreting this treatise, he briefly explained all the key concepts of his thought in it. This important introduction has been overlooked by some of Derrida's commentators and they have made accusations against his reading of Husserl. This article has tried to find its way to Derrida's philosophy by emphasizing the concept of "relation" (which is one of the most key concepts of Husserl's philosophy in particular and phenomenology in general) with the analytical-descriptive method. Together with Husserl, in the question of the "origin of geometry" and through the distinction between "empirical thing" and "transcendental thing" as well as "necessary conflict and tension between structure and genesis" and "experimental reality" and "geometrical entities" as " The "ideal" has tried to think about the "relation" or the "interval" that is never filled and never resolved, and what is important is to understand this difficult, highly contradictory and tense situation that Derrida in another expression of It is mentioned under the title "Strange Presence".

Undoubtedly, paying attention to philosophical thoughts has a great effect on shaping film theory and the formation of artistic and cinematic works . The analysis of the film from the perspective of contemporary theories is derived from the foundations of nominalism and conceptualism, which cause many ontological and epistemological problems according to the philosophy that shaped it . The analysis of film representation from the perspective of phenomenology, in the analysis of different dimensions of the film such as image, sound, narrative, content, reception and perception of the audience, brings important and different results . By briefly examining the nature of artistic representation in the theory of phenomenology, while paying attention to the important components of this theory, this article tries to value the different and influential attitude of this thought in film representation, unlike traditional theories that focus on the content, structure and process of filmmaking. In this regard, with the analytical-interpretive method, how reality and meaning appear in the world of the film from this point of view and increase the audience's experience in a deep and comprehensive analysis of the various elements of the film, such as visual language and sound, time and place, space and phenomenal place . Light and color are treated . As a result, it can be stated that this phenomenological approach not only helps to gain a deeper understanding of the story and characters, but also strengthens the audience's connection with the context and story world and increases the cinematic experience for the audience . The theory of film phenomenology emphasizes that our consciousness not only communicates with scenes through our actions, but also plays a role in their construction . This role is subject to a specific logic that is not yet fully understood.

The question of whether a proper phenomenological investigation and analysisrequires one to perform the epoché and the reduction has not only been discussedwithin phenomenological philosophy. It is also very much a question that has beenhotly debated within qualitative research. Amedeo Giorgi, in particular, has insistedthat no scientific research can claim phenomenological status unless it is supportedby some use of the epoché and reduction. Giorgi partially bases this claim on ideasfound in Husserl’s writings on phenomenological psychology. In the present paper, Idiscuss Husserl’s ideas and argue that while the epoché and the reduction are crucialfor transcendental phenomenology, it is much more questionable whether they arealso relevant for a non-philosophical application of phenomenology

In this article, an attempt has been made to explain the governance of AI based on the perspective of political phenomenologists with Morrow's interpretive approach and theoretical framework. The main question is: How does political phenomenology provide insights into the concept of AI governance? According to the hypothesis, the phenomenology of AI governance has a mathematical and positivist rationality. The results of the research also show that political phenomenologists refer to mathematical systems in the process of forming the rule of artificial intelligence; the formal systems of mathematics that create the mathematical world cause the mathematization of the life-world and its political horizon; and finally, the sovereignty of AI emerges. This process is not related to the philosophical development of existence and human freedom, and it is a kind of forgetting the life-world and is in conflict with the human meaning of phenomenology. They consider this process to be the cause of the attenuation of ancient virtues and the distortion of political action in the sense of the political space of the city-state, and while adopting a cosmic vision, anti-modernism mainly shows its dependence on the virtues and rights and natural law of pre-modern political systems against the modern systems of the mathematical world.

Heterophenomenology is a term that Daniel Dennett coined against Husserl's phenomenology, and its purpose is to study the problem of consciousness from a third-person perspective, as it is common in natural sciences. Dennett criticizes Husserl's phenomenology due to its reliance on introspection and first-person perspective, as well as the impossibility of creating consensus. The result of this is skepticism, solipsism, and relativism. According to Dennett, the only appropriate and agreeable method for studying consciousness is to focus from a third-person point of view on the processes that go on in the brain and are not available through introspection and from a first-person point of view. Accordingly, Dennett proposes the model of multiple drafts in opposition to the Cartesian Theater to investigate consciousness, according to which all types of perception, thinking, and mental activity in the brain are accompanied by multi-directional processes of interpretation, description, and development within sensory data. In this article, the claim is defended that the criterion of essentialism to distinguish introspection from the phenomenological method, considering Dennett's opposition to any essentialist approach to studying consciousness, is not effective. In addition, the priority of the third-person approach leaves no room for a phenomenological science based on the third-person perspective.

Bruce Ellis Benson, in his phenomenological theory, "The Improvisation of Musical Dialogue", points out that in the creation and performance of a musical work, there is always a platform for improvisation that brings the composer, performer, and listener into a kind of discourse which is always open to any subsequent conversions or adjustments. Through hermeneutic phenomenology, he presents his theory in the context of Western classical music and jazz with an overview of musical traditions and applications. The purpose of this study was to explain the concepts proposed by Benson's concept of improvisation, including the ontology of the musical work, the originality, and the identity of the musical work. The improvisational theory of musical discourse is a poststructuralist theory and introduces the basis of music as improvisation, which always has an interpretive nature. Musical tradition and practice as a world are important for a dialogue in music. Instead of playing the composer as the sole creator of music, Benson considers the piece to have a fluid identity that always continues to exist with the performances and interpretations of an experienced performer familiar with the tradition and practice of that music. In this research, which is in the category of qualitative research, the research method has been applied in terms of purpose and descriptive-analytical in terms of method. All material is obtained through the library method.

Which thinkers and with what interpretational purposes have put forward the concept of the imaginal in the reading of Iranian painting? What new possibilities have they opened up and what obstacles have they brought forth with the frequent reference to the imaginal in the interpretation of Iranian painting? The research method is descriptive-analytical and critical mainly developed through description, comparison, finding untenable claims in other research sources, lack of examples of painting works, and unprovable and frequent propositions, as well as raising critical questions. In addition to showing the theoretical and methodological shortcomings of this field study, the research aims to emphasize some other possible readings. I will proceed to explore the ideas of Titus Burkhart and Seyed Hossein Nasr, as well as Dariush Shaygan and Majid Akhgar (phenomenological approach) to conclude as follows: Burkhardt and Nasr, by using the concept of the imaginal and suspended forms about Iranian painting, did not try to discover the world of this genre. They instead sought to exemplify their previous ideas about tradition, Islam, and art in general. Their references are often unsubstantiated. Concerning the phenomenological tendency, Shayegan and Akhgar’s phenomenological approach does not go beyond Corbin's and traditionalists' views. Akhgar's reference and use of the concept of the imaginal is mainly based on Shayegan's texts. The distinguishing feature of Akhgar's interpretations is juxtaposing survival/annihilation and timelessness/temporality in the world of imagination, the attribution of which to Iranian paintings cannot be rejected. However, he follows the line of Shayegan and Nasr, in general.

In this research, we are using a descriptive-analytical method to answer that why does Ghazali establish an epistemological system with a taste of phenomenology to deal with the truth of the doctrines of religious life? It seems that Ghazali's skepticism about the validity of the doctrines of religious life and the falsifiability of theoretical reason in this regard leads him to the doctrines of this type of life. This causes Ghazali to deal with Sufism in the context of practical reason to achieve certain knowledge. Therefore, Ghazali's skepticism in the field of common sciences of religious life and deviation from theoretical reason in the context of dogmatic metaphysics leads him to the perceptions of practical reason and ethics and ultimately Sufism. Sufism became a means for Ghazali's serious entry into the field of anagogical exegesis and interpretation of the world of religious life and common texts in this type of life. Therefore, his tendency towards sufism and anagogical exegesis prepared the ground for the phenomenological approach to the aforementioned sciences to organize an intuitive epistemological system in order to prove the truth of the doctrines of religious life.

This research has investigated the challenge of transcendental ego identity in Husserl's phenomenology. On the one hand, the central position of this theory, the ambiguities and fundamental criticisms from philosophers affiliated with the phenomenology tradition reveal the necessity of research in this regard. Based on the general picture he presents of the nature of egoic life and its ability to split, Husserl deals with the relationship between pure and empirical ego, which has been considered the central point of criticism. Based on the thesis of the production of a transcendental ego through the activity of the specific experimental ego, he has expressed the theory that the experimental ego has the basic ability to recognize itself in different ways and to start producing a multitude of new egos, each of which it has its unique stream of consciousness. Therefore, Husserl, while expressing the idea of the coexistence of the transcendental and empirical ego, has emphasized two ways of looking at the ego. Ego can also be viewed as an object in the world or from the perspective of the relationship between experience and the world to discover the inherent structures of experience. Therefore, the transcendental ego, as the only phenomenological residue of transcendental reduction, allows us to access a new area of existence that is absolute.

In the upcoming research, relying on the descriptive-analytical method, we are trying to answer the question that does the Heidegger's phenomenology of religious life have an epistemological infrastructure? It seems that the basis of the phenomenology of Heidegger's religious life is based on the understanding of Dasein from the reality of religious life and gaining awareness of the essence of religious life based on the mechanism of Dasein's understanding. Investigating the role of human existence (= Dasein) in reaching the truth of religious life in the form of Heidegger's phenomenological approach to religious life is the main motivation of the researcher, which introduces us to the epistemological basis of Heidegger's phenomenology. Based on the evaluation, Dasein is a conscious agent in confronting religious life, and the knowledge that is produced in this way is a certain knowledge that depends on the essence of religious life through the understanding mechanism of Dasein.

This study aimed to identify the facilitating and inhibiting factors of students' tendency towards ethics. A qualitative approach with a descriptive phenomenological method was employed. Data were collected using semi-structured interviews with 98 Iranian faculty members, university administrators, experts, staff, and students who were selected through criterion sampling. The findings suggest that there are eight facilitating factors such as “structural, functional, social, cultural, personal, religious, study-research-driven, and educational" factors, and there are also nine hindering factors (obstacles) such as “structural, social, performance-related, political, personal, functional, conceptual, informative-cognitive, and cultural” factors. Drawing upon the understanding of a wide range of academic activists, this study identifies new and more complete dimensions and components of the factors concerning the tendency or non-tendency of students towards ethics in the university environment. It is recommended to use these results to develop academic ethics in higher education more efficiently.

Focusing on five symbolic painting works from Golchin Asha’r of the Shiraz-Behbahan school dating back to 1398, the current study attempts to approach the world of meaning of these works in light of Henry Corbin’s Phenomenological-Hermeneutical thought. It will answer the following three questions: What is the relationship between geosophy (visionary topography) and these symbolic paintings? What are the advantages of Corbin’s philosophy to interpret traditional Iranian painting, particularly the Shiraz-Behbahan school? What meanings does the world of these works present? The findings show that it is possible to apply the symbolic painting’s method of representation instead of the familiar drawing methods to present geosophy / visionary topography (geography). The visionary history and geography do not occur on the natural earth but the celestial one through the faculty of imagination. If such a world, celestial earth, is supposed to be represented, the Iranian symbolic painting will be a perfect choice. Corbin’s ideas make the interpretation of such paintings possible by decoding their visual aspect and content. Accordingly, Golchin Ash’ar’s paintings can represent geosophy, in which the question of “what” the earth turns into the question of “who” as the visionary earth replaces images of the natural earth, through some references to the Mazdic texts.

Phenomenology is one of the most important nowadays’ philosophical movements. Although Husserl is the founder, you can find its roots in philosophers’ works like Descartes, Kant, and Bergson. Heidegger Learned phenomenology from his professor and used it as a way to understand Being. Phenomenology for Heidegger transformed from Husserlian simple form to a way to understand the truth. Part of this transformation is because of Bergson's influence on Heidegger. In Heidegger’s opinion, Bergson, with bolding the importance of consciousness for understanding life, had a part in establishing Husserl’s phenomenology. By translating Bergson’s works into German, Max Scheler played a crucial role in gathering attention to Bergson's philosophy. This effort led to Husserl’s important work, the investigations of internal time consciousness, which are partly published in Husserl’s later works. Furthermore, Bergson, by making a difference between common time and real-time or ‘duration’ in understanding life, showed philosophy a new way of understanding truth. For Heidegger, phenomenology without understanding the concept of time, and centralization of Dasein as temporality, is not conceivable. The phenomenology is one of the most complex topics in the philosophy of the 20th century, and the simplest way to understand it is to pay attention to the formation of its roots. Considering that not enough research has been done on the influence of Bergson's philosophy on the phenomenological movement, this article tries to cover as much of this need as possible.

Martin Heidegger's philosophical inquiry following World War I centers around the profound question, "Is there something given?" This question emerges as a pivotal juncture in the development of phenomenology. The specific perspective from which Heidegger poses the problem of givenness leads to a complex set of philosophical dilemmas, ultimately challenging the prevailing conceptions of philosophy as a science of objects or epistemology.In this article, we explore first the significance of the early Heidegger's inquiry into the question of givenness, scrutinize his critique of Kantian notions of givenness, and ultimately elucidate what the authentic content of "it gives/es gibt" can be from Heidegger’s perspective in phenomenology. In fact, we will unravel the intricate layers that encompass the question of givenness as envisioned by Heidegger, which forms the foundation of his phenomenological endeavor.

In this article we provide an account of why, due to the fact of overcoming the mechanical and reductive worldview, modern medicine has faced a crisis. This crisis could be called the quality of care crisis. Then we will try to find a way out of this crisis, through providing a hermeneutical conception of health and illness, based on Heidegger’s hermeneutical phenomenology. According to such approach, in contrast to a mechanical and reductive approach, illness would not be a biological malfunction in a person’s organs, but it should be understood in relation to with existential concerns as part of his lived experience in a lived world. Certainly, this conception of health and illness has consequences that determine the way in which the physician and patient encounter each other and diagnostic and therapeutic procedures. The result of this is that medicine would become an encounter between two people. An encounter which aims is to help the patient to come back to the ordinary routines of life through understanding him.

In the mystical heritage, more attention is paid to the identity and cognitive and behavioral functions of the heart, and the dignity of the heart is presented as beyond the intellect and below the soul and in time below Fouad. It is placed again. But Ibn Arabi mentions the existential characteristic of the heart as cheating in forms and manifestations, and this research by emphasizing this characteristic seeks to draw the inner capacities of the heart for a phenomenological view and tries to use phenomenology according to Van Menen and Adding an existential attitude to it will answer this basic question; How can the inner capacity of the heart be used in Ibn Arabi's mysticism for existential phenomenological reflections? The achievements of this research are as follows: 1. The heart is the essence of a person's existence, and due to its application and fraud, it is receptive to various forms and manifestations, and what is meant by this fraud is intuitive existential fraud. To this credit, the heart has a good capacity to strengthen the phenomenological view with components such as astonishment, suspense, attention, and appearance, and helps to keep the file of reflection on the truth and its knowledge open; Second. The heart, with its face-to-face encounter with names and attributes, and in a sense, its pre-reflective confrontation, puts a powerful capacity for existential phenomenological reflections in front of the intellect, as one of the affairs of the heart.

In the Crisis of European Sciences and Transcendental Phenomenology, Husserl has tried to disclose the origin of psychologism in the history of modern philosophy. Phenomenological psychology not only provides a basis for empirical psychology but can also function as an introduction to transcendental phenomenology. In his philosophical narration of the historical development of the concept of psychologism, Husserl refers to John Locke and states that Barkley and Hume advocated Locke’s views. Locke’s psychological studies come at the service of transcendental concept, which had been formulated by Descartes in his Meditations on First Philosophy for the first time. In his view, metaphysics can show that the whole reality of the world and everything that exists is nothing more than our cognitive acts. It is at this point that it is necessary to pay attention to transcendental affairs. Descartes’ methodological skepticism was the first method used for posing the transcendental subject, and his description of cogito ergo (I think) provided the first conceptual formulation for it. John Locke replaced the pure transcendental mind of Descartes with the human mind. Nevertheless, he continued his study of the human mind through intrinsic experience because of an unconscious transcendental-philosophical concern. However, knowingly or unknowingly, he fell in the trap of psychologism. Following a historical and, in a way, completely philosophical approach, Husserl showed how the rays of attention to transcendental affairs emerged for the first time in Cartesian philosophy and, then, in the conflict between rationalism and empiricism. He also demonstrated how, after the growth of this attention in Kantian transcendental philosophy, it came to fruition in Husserl’s phenomenological philosophy.

Allāma Tabātabāī has used the theory of i'tibārīāt in the analysis of various phenomena such as knowledge, the language of religion, the relationship between the appearance and the interior of religion. According to Allāma Tabātabāī the language of religion is i'tibārī; That is, it forms a set of validity of the language of religion in the field of education, which go back to the facts. The discussion of i'tibārī versus real has been raised in the works of the Allāma Tabātabāī in two different ways: Epistemological discussion and ontological discussion. In addition to these two, we can also talk about i'tibārī phenomenology. What is meant by “i'tibārī phenomenology” is the study of the emergence of human relationships with the world and other objects in the form of i'tibārī matters. Man's relationship with other objects is based on four types: real-real; real- i'tibārī; i'tibārī-real; i'tibārī - i'tibārīāt. This latter type is a i'tibārī relationship with something that a person accepts without going back to the reality and simply based on the relationship with other baseless i'tibārīāt. We called this type of i'tibārīāt "absurd i'tibārīāt". One of the most important types of nihilism that can be seen in the cyber space is i'tibārī nihilism, and various forms of it can be seen in this space. Technology and virtual space has brought with it a lot of absurd i'tibārīāt and has trapped a person in the dungeon of i'tibārī nihilism. The only way to get rid of them is to return to real i'tibārīāt; i'tibārīāt that are rooted in reality. The existential relationship that new humanity has found with the cyber space and technology has replaced the relationship with the sacred and God.