phenomenology

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.

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.

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.

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 past few years, there has been a lively debate on whether and how phenomenology cancontribute to social cognition research. Notably, some have doubted whether first-personal,phenomenological descriptions of intersubjective experience and interaction can support ordisconfirm certain theories about social cognition (e.g., Spaulding 2015). In contrast to such anassessment, the aim of the present contribution will be to present an overview of the rich anddetailed discussion of empathy found in the phenomenological tradition, focussing particularlyon those aspects of this discussion that we believe to contain important and subtle insights ofcontemporary relevance.Our approach in the following will be as follows. First, we will examine the account ofempathy offered by the two phenomenologists whose writings on the topic we take to bethe richest and clearest, Husserl and Stein, explicating their arguments for the claims that(i) empathy is a sui generis mode of intentional experience, (ii) the basic form of empathycan nevertheless be characterised as perception-like, and (iii) that a higher-order form ofempathy is a more imagination-like way of understanding other persons from their ownpersonal perspective.

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.