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سال هشتم شماره 1 (پیاپی 72، بهار و تابستان 1394)

rhythm is an important element in deleuze`s ontology and aesthetics. This advanced concept stem from heidegger`s Grund (gr) .his french friend and colleague, Henri Maldiney was so inspirational for Deleuze in different concepts like rhythm. We consider different types of rhythms in paintings, Vibration & Resonance, sensation & intensity and rhythmic characters like passive,active and attendant have rudimentary role in bacon`s painting. Logic of senses is related to pure sensation and pure intensity, and it bring rhythm to disparates.
The main reason of proposing this concept in principle is rooted from an onthological problem. the univocity of Being has been expressed as difference degree of puissance in beings. rhythm is a relationa which happen in two moment : systolic and diastolic movement from chaos form the order or figure. The tension of this mutal movement is entangled in outline. Pure Difference or intensity is a Fact which happen in conecting two beings that are incommensurable. This fact or event is Grund or ground which survey all possible universes. Event is not a simple one, also is a special which make artist Unheimlische. Artist after this earthquake will lost all of reference to ordinary World and takes aside lived experinces and uses block sensations or intesities in it`s touches. As a result a Universe has been born with this Event. universe which is open to other incompassible universes and then poly-rhythm should be resulted from relation between them. Generally, rhythm is vibration, and resonance of beings in relation to other being and intensity in relation to Being. artistic works for elucidating an ontological problem, is a kind of applying non-philosophy along with philosophy.

This study intends to investigate the Benjamin`s foundations of teleological approach to history. Critical Aesthetics of Benjamin that later created the Negative Aesthetics, is based on Allegory; the Element that is product of Benjamin special approach to language. The concepts as Experience, Revelation and Messianism that have a special position in Benjamin`s philosophy of art, linking to gether and to Allegory, in a special form and are connected to his teleological approach to history. The history that is covert by affliction experience, will express by Allegory in art work, but critical aesthetics by expression this, intends to leads to a better status. This is the total program of critical aesthetics in cross of the facts to the more ideals. Finally, Benjamin accept the possiblility of historical discontinuity of affliction experience by art Allegory. This is the total program of critical aesthetics in cross of the facts to the more ideals. Finally, Benjamin accept the possiblility of historical discontinuity of affliction experience by art Allegory.

The proof of the truthful (Burhān-i ṣiddīqīn) is one of the valid and most prominent arguments to demonstrate the existence of God in the Islamic philosophy and theology. It was invented first by Avicenna (Ibn Sīnā) and developed via later philosophers and theologians. The proof due to its own credibility received a noticeable reception of the post-Avicennian Imāmī theologians, who tended to the philosophical views of Avicenna, in medieval period. Naṣīr al-Dīn al-Ṭūsī and al-ʿAllāma al- Ḥillī, among them, set forth various version of it in their works. Naṣīr al-Dīn kāshī tried to invent a new and unique version of the proof of the truthful (Burhān-i ṣiddīqīn) as well. Kāshī’s argument has not been received much attention so far, although it deserve it. In this article, we try to show the evolution of proof of the truthful (Burhān-i ṣiddīqīn) in the Shiʿite Philosophical theology, from Naṣīr al-Dīn al-Ṭūsī to Naṣīr al-Dīn kāshī. This survey shows that the post-Avicennian Imāmī theologians like Naṣīr al-Dīn al-Ṭūsī and al-ʿAllāma al-Hillī have followed an Avicennian method for proving the existence of God and that they tried to benefit from Philosophical teachings of Avicenna for demonstrating the existence of God. This new approach in Shiite theology led to the revolution of arguments for proving God in Imāmī Shiʿite theology in the medieval period.

In this article, the author introduses a narration of the Schelling's works in which Schelling in all of his philosophical works has been looking to find a decent explanation for his fundamental problem Namely the relation of the ideal and real. Schelling's main purpose of pursuing the problem was understanding and articulating the actuality of existence. Here Schelling's gradual move towards his ultimate answer to explain his fundamental problem of the relation of the ideal and real will be followed. The final answer is philosophy of mythology that he achieved it in his later thinking and Schelling with the plan seeks to explain the actuality of existence. Throughout the article Efforts have been made this question to be raised in the mind of the audience whether Schelling as ever witnessed the official readings was an idealist philosopher or that he always tried to pass from the German idealism of the nineteenth century?

Muslim thinkers always considered the importance of different dimensions of knowledge and cognition and have mentioned points through their discourse. One of the reasons why Muslim thinkers considered knowledge and cognition refers to the Islam’s significance to this matter .Muslim scientists sometimes considered cognition through the view of ontology and also through the view of epistemology and have mentioned different opinions about them . Molasadra’s view about epistemology is known distinguished among Muslim philosophers; since his view is the confluence of epistemiology and ontology. The consideration of being two steped of perception on Molasadra’s view and study of union of scientist and intelligible on perception steps and manner of appearance of attainment knowledge in this process can be helpful. Molasadra has discoursed about epistemology and specially about being two steped and even has mentioned some contradictory views about it .This study tries to clarify the steps of perception through molasadre’s view and responds some important hardness of it.

This article tries to show how the philosophy of difference comes out of the dialectical philosophy at the time of "writing" when Bataille's reading of Hegel comes complete with some Derridean meditations. The importance of the move from dialectic to difference is realized well when serious critics of Hegel, such as Michel Foucault, assert the difficulties of releasing ourselves of the dialectical thinking. Bringing in the concepts of negation and death to the philosophical discourse has given Hegel an outstanding place in the history of philosophy. These crucial issues could even attract the contemporary critical thinkers. Even though Hegel's treatment of negation and death is considered as the distinct merit of his thought, his approach in this regard has provoked some severe criticisms. Both Hegel and Derrida aim at "affirmation" in their encounter with the negation, however, it seems that in attaining affirmative thinking, Hegel could not remain faithful to his own insight regarding the significance of negation and death. Bataille and Derrida are not satisfied with Hegelian determinate negation at all. That is why they seek another kind of affirmation. Taking some of Hegelian achievements much seriously, which leads to Hegelianism without reserve according to Derrida, can provide us with a new mode of thinking which is non-dialectical. Referring to the Derridean description of Hegel as "the last philosopher of the book and the first thinker of the writing", we start our article and then try to show what it is meant by Hegelianism without reserve in details. We demonstrate how Hegelianism without reserve is accomplished through placing Nietzsche at the hub of dialectic. Inspired by Nietzsche, Bataille challenges Hegelian tragedy, seriousness, systematic thinking and conceptualization with comedy, play, chance and poetry or myth in his encounter with death and negativity. However, Bataille has faced some problems in accomplishing his non-dialectical project. Indeed, it is difficult to criticize conceptual thinking without conceptualization. Derrida's reorganization of Bataille's reading of Hegel according to his conception of writing and difference can overcome the problems of Bataille's approach to Hegel and pave the way for the move from dialectic to difference. Derrida's difference is an influential attempt in overcoming dialectic and introducing a non-dialectical mode of thinking that eventually breaks with Hegelian dialectic.

According to Plato the ideas are the main object of the names and the signification of names to the particular things is possible only in a secondly way and only because of their likeness to the ideas. Aristotle denies the existence of the ideas and, contrary to Plato, believes that names signify firstly to the particulars and their signification to the abstract conceptions is possible only in a secondly way. The neoplatonic reconciliation of Plato’s theories with that of Aristotle made the neoplatonists , following Aristotle, considere the names as signifying to the particulars. Plotin and Proclus were the only ones who realized the false reconciliation between Platonic and peripatetic theories and, following Plato, emphasized that names signify first and truly to the ideas. But the difference between the ideas and the particulars is so extensive that Plato considers the applying of names to both of them as synonymously and this makes him some problems: on the one hand causality implicates the likeness between cause and effect but, on the other hand, how is it possible for the ideas to be the cause of the particulars, if the ideas and the particulars are so different that the names are applied to them synonymously. Plotin and Proclus try to explain the signification of names to ideas and particulars in a manner, so that not their likeness to each other nor the subsequent causality between them would be refused.

Plato’s philosophical pessimism contains two dimensions: one epistemological and the other cosmological. From the epistemological aspect, Plato realises that the method of dialectic extant in the early Socratic dialogues, and any method connected to words and language as in the Cratylus, fall short of providing true knowledge; eventually, in the Phaedo, he reaches the overall point of view that, due to the corporeal obstacles, human beings could not gain true knowledge in this world. In this way, Plato’s pessimism refers to the obstacles associated with the body and the corporeal world, a vision rooted in Orphic dualism. In some of his dialogues, under the influence of Hesiod, he draws a pessimistic perspective of the phenomenal world and human life in it, while in his other dialogues, he considers the world as totally beautiful and orderly; however, it seems that even in these works, he takes the corporeality as the source of evil, presuming the soul’s tending towards the corporeal as the source of moral evil, and the shortfall of the body in accepting the Form as the source of ontological evil.

One may have perceptions and experiences in the world which is not agreeable to his nature. On the other hand, it is undeniable for theologians that there exists a Wise, Omnipotent, and absolutely Just God. The contemporary formulations of the problem of evil are often based upon these inconsistent perceptions. These inconsistent perceptions may raise the question why such God have created such world , Sadr Al-Motealhin claimed the theory of evil nullity, and analyzed it in nihilistic matters such as non perfection of essence. This theory is dealing with the evil perceptual which based on its claims, some of the assets are endowed with the evil. But he didn’t have constant thought about this issue. Description of the Molla Sadra’s point of view about this subject is among the most significant and recent researches. The origin of this evolution is in Molla’s impression about religious texts (Quran and traditions.

Literary and artistic works are not only creative, but also afford a new way for signification and transformation as a result of the literary structure and also in the artist's subject. Meaning that based on preexisting structures and norms formed does not work only by changing the accepted principles, a new way to introduce significant. Kristeva recognizes the transformative nature of the avant-garde poets and in a symbolic and pre-accepted system. She generally considered innovative and creative elements in a work of literature, of reproductive text or character language, change the direction of the speaking subject and the capacity to play and enjoy virgin suggest that coercion and general requirements symbolic law and violated the concept of "border" as well as the violation, or violation of the border face with it. Therefore, this "practice" can accept both the symbolic and, in front of the law to restore it. Something that can find examples of it in various forms of literature and art based on the theory of literature outlining the terms of Kristeva. But such a theory can be found in various dimensions and aesthetics beyond the usual form for literature and art beyond the realm of an aesthetic object attribute, which could lead to the transformation of the subject and culture.

Although aesthetics and philosophy of arts are the fruits of the modern age and the new approach followed by science and truth, the question of “beauty” and “arts” are among those that have involved human being’s mind since very long time ago. As one of the greatest Iranian-Islamic philosophers of the sixth AH century, Sheikh Shahab al-Din Suhrawardi, known as Sheikh of Illuminationism, has discussed about arts and beauty, under cosmology and the science of mystic lights, as well as about goodness and beauty concepts in the Illuminationism philosophy. According to the Suhrawardi’s illuminationistic viewpoints, “goodness” is a celestial truth which has headed down the arc of descend while maintaining its celestial identity and has been manifested in the visible world, as this-worldly and visible beauties are just a sign of the reasonable and that-worldly beauties. According to the Illuminationism perspective, the science that forms the foundation of the Illuminationist arts, will not be achieved but through intuition and this sort of intuition is realized only when the illuminationist ascetic or artist can recreate ascension in his soul through understanding “rules of spiritual elation”. Both the illuminationist philosophy and arts are expressed through the “symbolic” language. Therefore, "hermeneutic" is crucially important in the understanding and explanation of the symbolic language through which Illuminative wisdom and art are expressed. Thus, it can be said that “rules of the spiritual elation”, “symbol” and “hermeneutic” are three wings of a triangle which is considered as a fundamental basis either in illuminationist philosophy or in illuminationist arts. The illuminationist philosophy and arts will be emerged and established when all three wings of the mentioned collection are considered collectively.