aesthetic

Education is of particular importance in childhood. It shapes the personality of individuals and conveys concepts in an appropriate and correct manner. One of the most effective ways of educating children and adolescents is the use of the aesthetic and artistic method. Given the undeniable role of stories in conveying concepts, literature and art can be the best means of reflecting concepts in general, and Islamic concepts in particular. Emphasizing on the role of stories in the Holy Quran, the present study aims to investigate the role of this educational dimension in promoting the obligatory prayer. To achieve this goal, the descriptive-analytical method was used. The findings of the study indicated that the aesthetic and artistic aspect can play an important role in transmitting Islamic teachings and promoting and developing the culture of prayer. It can lead to deeper learning if the following requirements are met: attention to and utilization of religious elements (beliefs as the cognitive and insight aspect, internal states as the emotional and emotional aspect, internal commitment as the decision-making aspect, will, choice, and action) and educational elements. In transmitting religious concepts and religious education the key and influential characteristics and components in the stages of growth (introduction, discipline, puberty and the peak of puberty, moderation and elevation) and the correct and methodical transition from childhood to adulthood must be considered. Besides, rationality, desirability, humanity, and agency should be cultivated at each stage of growth.

In this paper, we aim to investigate the aesthetic dimensions of Marx’s theory through the lens of Ranciére’s conception of “the sensible”. To this aim, we begin with the generic idea of the production and the alienated senses in Marx’s early writings to see how his idea is linked with the idea of “distribution of the sensible”. Then, in the light of the idea of “re-distribution of the sensible”, try to explain the political and emancipatory potential of the body in Marx’s mature critique of political economy in Capital and the Grundrisse. The paper shows how reading Marx’s theory of the senses through Ranciére’s can help in unveiling the aesthetic nature of the “mode of production”, specifically, in understanding “the mode of production” as a relation between the economic forces and the senses which, in turn, can turn into other forces. In this paper, the word “aesthetic” is used in the specific sense of sensuous perception.

Thomas Aquinas is the one philosopher among these middle-age philosophers who has attracted most attention from twentieth century researchers and scholars, hence the devotion of numerous essays, researches and texts to his thought. Nevertheless, no research known to the author has read scenic design of late middle-ages in the light of Aquinas’s philosophical thought in order to investigate whether his thought has had any impact on the visual elements of middle-age theatre and performance arts or not.Saint Aquinas sought beauty in various elements. Aquinas brought three elements - Integritas, Consonantia, Claritas – under the unifying concept of absolute perfection. In other words, he considered each element as part of infinite perfection. All this, while scenic design or stage design during the middle-ages – along with Gothic architecture – were made up of parts which despite their perfection, suffered from the defect of “detachedness”. As a result, visual elements could reach unity only if juxtaposed beside one another; in this way they could account for divinely concepts.The present research takes as its point of departure, an investigation of the aesthetics of the middle-ages and especially the aesthetics of Thomas Aquinas so that it becomes possible to compare Aquinas’s thoughts on aesthetic matters with scenic design of religious theatre pieces of late middle-ages. Towards its end, the present research considers the impact of Aquinas’s thoughts on the formation of some aspects of Renaissance aesthetics.

The reinterpretation of Hegel's philosophy on the basis of desire and negativity is a new work that seeks to reinterpret idealist philosophy with a psychoanalytic approach based on the individual subject. From Hegel's thought, the fascinating idea of ​​the desire and necessity of negativity is formed as the main pillars of self-consciousness, but because of the originality he attaches to the concept of absolute, he does not narrate it very faithfully to the individual; Leaves room for other interpretations with commentators. This category becomes a milestone for the Frankfurt School's critical approach to re-establishing the Hegelian subject's failed connection with the world and trying to address its shortcomings. In this category, it is clear that the subject's relationship with the world around him is formed based on desire and emotions, and the continuation of the path of self-consciousness to reach an effective and revolutionary subject requires a view based on these two concepts. The present challenge shapes the subject of this article and shows how the absolute in Hegel's thought opens the way for the necessary presence of art to the point where, instead of the end of art, its beginning is announced again. By adopting this view that we need to re-read our unconsiousness, our imagination, and our fantacies so that we can return from head to our feet again.

Although the explanations of beauty (Jamal) in the theory of Avesina are limited, it seems that they point to a very deep relation between beauty (Jamal) and perfection (Kamal). Therefore, perfection in the idea of some investigators has been expressed as the main reason for the beauty. They have introduced the second perfection in the sense objects as the beauty. They construe sense objects from the one of important phrase of Avesina, while it seems that proving this claim from that phrase is not easy and acceptable. For this reason, in this paper, while the common approaches of this issues are critiqued, by the descriptive-analytical method the relationship between beauty (Jamal) and perfection (Kamal) base of Avesina's books is evaluated and analyzed. The conclusion of this paper shows that base on the concept of perfection (Kamal) for creatures, there are two kind of beauty; one of them appertain to substantial beings and other to insubstantial beings. The perfection for the first part is the second perfection (Second Kamal) and for insubstantial beings is the first perfection (first Kamal).

The main concern of methodological hermeneutics is finding of system of rules of deduction of meaning. Methodological hermeneutics like methodical hermeneutics believe in significant of text and definite determination of it regardless of the reader since Schleiermacher onwards, methodical hermeneutics had technical identity only but methodological hermeneutics has scientific identity. The center point of this system is its conception from meaning that this conception largely arising from principle of aesthetic and romanticism. Because of Schleiermacher's ideas are axis among other great thinkers, recognition of his semantics is important for accurate recognition this hermeneutics. Thus in this article, attempts to paid to nature of meaning in view of Schleiermacher that in judgmental signification is inspector to concept of individuality and in notion indication is related to application of word. In his view, text is manifestation of author’s individuality completely and its meaning return to his individuality. The meaning of words determine through their application in particular context, but there is an internal unity among them in different applications that be called spirit of meaning of word.

Kant differentiates between reflective and constitutive judgment explaining them in two teleological and aesthetic spheres. The judgment, in general, is a faculty which considers particular objects beneath universal law. If the niversal law has been given as priori, the judgment will be constitutive. If particulars are given and its universal law must be found, the judgment will be reflective. He tries to explain that as the faculty of understanding has its own priori principles, he also endeavors to figure out the priori principles for the judgment. The priori principle of reflective judgment is the intrinsic purpose of the nature.

Hermeneutics is a new field of western thought. It can be traced back to the Reformation movement and the Age of Enlightenment. This field of study must be in accordance with the most modern Methods in literary and linguistic criticism, and be able to answer the basic long-standing questions in the field of literary theory. Some thinkers and theorists of literature, such as Hans Robert Jauss and Umberto Eco who are founders of literary schools, try to extend the scope of literary criticism through the wide-ranging hermeneutic questions and thereby evaluate their theories. This paper aims at surveying some major approaches and theories in literary hermeneutics, their relation with other disciplines in humanities, and different understandings of their functions. This paper mainly focuses on certain viewpoints, approaches, and problems regarding the major interpretative theories and hermeneutical questions.

Kant in Critique of Judgment tries to introduce aesthetical judgment as a product of reflective judgment، and he، in the First Critique، separates it from the cognitive judgments of understanding، but in the Second Critique، from the ethical judgments of reason. Because the Third Critique must fill the gap between those two، and thus enable communication between two realms of philosophy، it has to establish a relation between faculties of understanding، reason، and imagination in an aesthetical and a teleological reflective. This paper، introducing the general principles governing on aesthetical reflective judgment and the free play of imagination and understanding for abstraction of pure and final form of objects، wants to justify the relation between imagination and reason in the beauty of art and its two parts، i. e.، the mechanical arts، and fine art.

The overall perspective from which one sees and interprets the world is called the worldview. This perception of the world can be divided into three categories of religion، philosophy، and science that come in the order mentioned. In religious ontology، the first creation is the divine light. Religion is the origin of all sciences. The moment philosophy and science resort to religion، knowledge and human understanding of life move towards evolution and development. In religious worldview، beauty originates from absolute beauty; the nature of the absolute is aesthetic and cannot be any other way. According to Plato، in the line of ontology، aestheticism in philosophical worldview is first formed in the world of ideas، it is then entered in the world of mathematics through its quality and quantity، and it can be seen in the world of senses. In scientific and empirical worldview، nature and the world have a spatial and aesthetic space. The world is God''s workshop of divine creation and the most beautiful among the creatures are human beings. In the interaction of religion with philosophy، Muslim scholars and philosophers have obtained their school of philosophy from religion. In the interaction between religion and science، empirical aestheticism is registered under God''s provisions; and in the interaction between science and philosophy، the scientific and empirical aestheticism is specific while philosophical aestheticism is general and contains various examples. Real beauty originates from religion and value system and continues in philosophy and science; after the appearance of beauty، the beauty of religion، philosophy، and science interact; thus، all beauties become united in religion.

Muhammad Inb Ebrahim, well known as Mulla Sadra, is among thinkers whose simple and fluent and yet expressive style of writing carries his deep and transcendent thoughts. The depth and width of his teachings and his elegant style of writing, alongside the exalted and glorious philosophical and mystical thoughts, is the secret of the stability and perpetuity of his works. Choosing of words carefully, beauty of exordium, beauty of conclusion,symmetry and harmony and synergy between words, enjoyment of fantasy literature in the forms of: simile, metaphor, irony, and also enjoyment of argumentative and intuitive methods and benefiting from the Quran and traditions are some features of his style of writing. Also, covering all aspects of the subject in figures of speech such as: Ighal (to add some extra explanations in the end of discussion), Tawshih (to interpret a dual word with two single words), Tazyeel (to repeat the meaning of a sentence in other words), Itiraz (to add a parenthetical sentence), Taqsim (to mention appropriate divisions) etc, are some other features of his beautiful style of writing. Also a musical atmosphere and melodies rhythm gained by using some other figures of speech such as: rhythm, balance, tibagh (to mention a word ant its contrary like light and dark), pun, symmetry, Muraaat al-Nazir (to mention related words In a situation), using tow forms of a word in the top and end of a sentence, Tashabuh al-'Atraf (to repeat in the heed of a sentencethe word used in the end of the previous one) added to the beauty of his works.