نشریه متافیزیک
سال سیزدهم شماره 1 (پیاپی 31، بهار و تابستان 1400)

Husserl's reflections on art and aesthetics can be discussed in four parts. First, a comparison of the phenomenological and aesthetical attitudes focusing on existential disinterestness and the suspension of the external world is drawn. Second, there are Husserl's views on image-consciousness which play a prominent role in understanding the work of art as a work of art, as well as its differences from other types of consciousness and its three-layer nature namely the physical substrate, the image-object, and the image subject. The third part concerns the division of art into the realistic, idealistic, and philosophical art. And the fourth part deals with the capabilities of Husserl's phenomenology to formulate a phenomenological theory of art. The concepts ‘artworld’ and ‘life-world’ as a framework or context play a crucial role in this regard. In this paper, it has been tried to point out some of these capabilities according to the basic elements of phenomenology such as opposition to reductionism, presuppositionless investigation, anti-psychologism and anti-naturalism, descriptive method and “going back to the things themselves”. Accordingly, the phenomenological aesthetics emphasizes more than anything the intentionality of aesthetic consciousness and the relationships between the subjects of the artworld, and seeks the foundation of art and the work of art in these intentionalities and relations. It can serve as a basis and framework for traditional aesthetical theories.

Revisionism about moral responsibility is the view that there is a difference between descriptive account – as we think- and prescriptive account - as we ought to think- about moral responsibility. It is a Revisionist view to believe that (1) the folk intuitions of moral responsibility are incompatibilist, (2) the incompatibilist conception of moral responsibility is incorrect, and (3) the folk intuition of moral responsibility must be reconsidered. Vargas calls the revised concept of responsibility "the responsibility system" and believes that this new concept has all the functions of the previous concept; In other words, it can provide a new justification for individual and social activities that we have formed based on the traditional concept of responsibility - such as blaming, praising, punishing, etc. But it seems that because the model of justification in "the responsibility system" is forward-looking, it is not able to justify retributive justice. At the same time, Vargas must be able to defend the revised concept of responsibility against the "four-case manipulation" argument. This defense is shown to be unsuccessful.

This article, by descriptive- analytic method, aims Tabatabaei's interpretation of law and ethics relationship and formulates this topic according to his words. corresponding to Tabatabaei's formulation of three ways of ethical life- which is called as public ethics, religious ethics and divine ethics in this article- We can say: there are three kinds and stages of relationship between law and ethics. At first, it seems that law and ethics play a common role and make human social- individual life secure by employing Constructional Perceptions. At second level, we receipt that law and ethics are almost separate each other; in this form, law is overlapped with religious jurisprudence, and ethics will be attached to extra- task behaviors. Finally, in the third kind of relationship, law is considered as common and popular rule of human secular- nature and life. So, this rule is finished and ended by human transformation to spiritual word.

Heidegger finds a ground for his primary concern, the question of Being, in Parmenides' poem that called "didactic poem." by interpreting Parmenides, he tries to unfold the Truth of Being. Parmenides' poem is a revelation from a Goddess that Heidegger claims is the Goddess of Truth or Aletheia. He sees Aletheia as Correspondence or verity, a Deviation from the original essence. For explaining Aletheia, he employs expressions like disclosure, enclosing, and opening. Aletheia is the Truth of Being. Aletheia, an original name of Being, is the ground that things appear on it. In the appearance of things, the ground itself withdraws. In this study, with a descriptive-analytical method, I introduce Heidegger's reading of Alethia as a Goddess of Parmenides's poem. I try to show how one can see this issue as a positive description of the meaning of Truth in Heidegger. in the last section, for examining Heidegger's interpretation, I try to show how other researchers see the goddess of Parmenides. To grasp Heidegger's ideas as a whole, his reading of Parmenides is crucial. By focusing on Parmenides, Heidegger tries to discover a starting point for an insight that can ask about the Truth of Being.

Evolutionary aesthetics is one of the naturalistic approaches to aesthetics in which a distinction is made between natural beauty and artistic beauty. One of the topics in evolutionary aesthetics is the study of the aesthetics of portraits (painting, photography). In this article, the aesthetics of portraits (paintings) are compared with the aesthetics of natural human faces (photographies), and we will try to elucidate the similarities and differences between the aesthetic criteria in these two areas. The research of Graham et al. on the aesthetics of the 1100 top paintings in the art world shows that the criteria for the beauty of paintings are somewhat different from the criteria for the beauty of natural faces. In this study, we first briefly review “averageness” as the main criterion of beauty in natural faces, and in the second part, citing an article by Graham et al., the aspects of deviation from the natural beauty in paintings are introduced and examined. What the authors of the article do not mention is the causes of this deviation. At the end of the article, an explanation of the causes of this deviation will be provided by resorting to scientific and evolutionary data.

The present study aims to defend moderate moral principlism in moral reasoning. According to this type of principlism - in a moral argument - although one of the premises of the argument is a moral principle, the position and situation in which the action is performed can be considered as another premise of the argument. To clarify and defend this principlism, it is necessary to analyze and examine competing approaches such as racial originality and moral particularism to provide a basis for endorsing this view. In this research, first, a report on Ross's principlism and his definition of principlism is presented. Dency's critiques and objections to Ross's definition are then expressed, and at the same time, Dency's particularism is examined. Finally, moderate moral principlism is defended. The result of the above arguments will be that in a moral argument all aspects must be considered - including principle, position and situation - and the approaches of extreme absolutism and moral principlism are not maximally successful, because at least they cannot solve the problem of moral conflict.

The main concern of Agamben in The Man without Content is the problem of art as a result of and even the foundation of contemporary nihilism. He believes that art since it has begun to be treated as a subject of aesthetics and taste has lost its fundamental functions and powers in opening the human world and revealing the truth. Drawing on Heidegger, Benjamin, and Baudelaire, this article attempts to analyze and interpret the thoughts of Giorgio Agamben about the destruction of aesthetics, what he means by that and how he proceeds. Following Heidegger, Agamben intends to destroy aesthetics in search of rediscovering and reviving the origins (archai) that are hidden and forgotten in the ruins of the tradition. Based on the concept of poiesis as the essential feature of art, in contrast to praxis as the only action of man in modernity, he tries to diagnose the contemporary condition of art. In the search of original structure or the essence of art as poetic action of human beings, Agamben believes that the role of art in our contemporary situation is to fill the gap between the past and the present because in our nihilistic situation tradition cannot transfer its meaning and truth to us, so we encounter it just as a cultural heritage.

One can fairly say that the central debate in the emrging field of meta-metaphysics has been around the problem of ontological commitment. Recently, truthmaker theory is reread as proposing a criterion of ontological commitment. In this paper, we offer a criterion of ontological commitment drawing on Armstrong’s truthmaker theory. To do that, first, the problem is elaborated. Then, a picture of Quine’s theory of ontological commitment, as the received view, is sketched. Then, comes Armstrong’s version of the truthmaker theory, and at last, we show how it could be developed as a specific theory of ontological commitment. Meanwhile, we show some implications of Armstrong’s theory of ontological commitment and compare it with the received view. For the most interesting part, we see that existential quantifiers have no roles in Armstrong's theory of truthmaking while it is notifiable to see that it stays far from the Moinongian version of ontological commitment.

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In modern philosophy, Hegel recognized the crisis which he believed arose from the finitude and particularity of the subjective approach to consciousness, and the skepticism and alienation of consciousness from reality as a result. Thus, one of the things that Hegel considered a fundamental issue for philosophy, especially in the Jena period of his thought, was the resolution of this crisis. By focusing on the chapter of self-consciousness in Phenomenology of the Spirit, this article examines and analyzes one of the most important aspects of Hegel's attempt to eliminate this crisis that emerged in the theory of mutual recognition and intersubjective approach to consciousness. This paper will show how adopting an individualistic view of consciousness and acknowledging the immediacy of transcendental consciousness as a condition for the possibility of consciousness always causes fundamental conflicts in cognition. I will also show that mediation provided by the supposed recognition of intersubjective interactions is needed to overcome these conflicts. Finally, the claim that subjectivity finds the possibility of universality in which the gap between consciousness and reality is disappeared, not in some kind of internal relationship with itself, but through its acceptance and recognition, is introduced as Hegel's important vision in phenomenology for resolving this crisis.

Almost fewer poet, sage, or philosopher in the history of Islamic and Iranian literature can be found who has not mentioned the subject of music and hearing in his poems and prose works. Shahabuddin Suhrawardi, as one of the philosophers of the Islamic world, has a special view on music and Sama (listening). Like Pythagoras and Plato, he had a sacred and heavenly view of music. He believed that it was the sound of the heavens that was expressed through music. With this difference, Suhrawardi's view is more based on hypothetical questions and his states in the House of Music and Hearing, but part of the thoughts of Pythagoras and Plato are more based on the sounds of music and the content of mathematics. He also saw the hearing as a mystical passion and a means to perfection. He saw the soul as a bird trapped in a cage, jumping up and down to escape the cage, perhaps finding a way to fly and escape. Hearing is unique. For this purpose, with a mystical approach and in the light of the opinions of scholars and philosophers, an attempt is made to examine the position of music and listening from Suhrawardi's point of view from various aspects.

The Truth of the propositions describing actions and the status of these propositions face challenges, one of the most important of which is that the content of these propositions is non-factual. Based on this problem, sentences related to human voluntary action, without meaning right or wrong about them, are among the commandments and prohibitions that express the emotions and feelings of the speaker and motivate the listener to a certain action. The present article, in conformity with the thought of Plato, Aristotle, Farabi, and Ibn Sina, holds that the statements used in practical wisdom are cognitive; because these sentences indicate human happiness and good and evil in the path of human happiness. This statement has also been made by some contemporary Muslim thinkers like Mohammad Taghi Mesbah Yazdi, Ali Abedi Shahroudi, and Sadegh Larijani (in the context of confronting the views of Westerners) with the difference that they believe that practical propositions have also motivational meanings. Such a view, although an attempt to make practical propositions real, faces the challenge that it has been shown the atmosphere of practical wisdom as it should and should not be. Mesbah Yazdi has explained how to narrate the practical propositions of human perfection, citing the comparative necessity between voluntary action and its end, which is also associated with the problem.