فصلنامه حکمت و فلسفه
سال نوزدهم شماره 2 (پیاپی 74، تابستان 1402)

The type and program of Kant's monetary philosophy in ethics is prescient and pre-empirical (or metaphysical) principles of ethics. With this goal in the foundation of metaphysics, ethics, moral value, absolutely, only the decent will is the good field; An intention that is determined by the moral law, absolute, rational and simple, and the motive of action is duty and not something else, including a feeling of compassion and a desire to achieve the result and obedience to God's orders. Kant presents various formulas for the moral law (universal law, universal law of nature, humanity, self-reflection and kingdom of ends). In Post-Criticism II, Kant relates the completion of abstraction to integration problems. One of the problems that Kant deals with is speed, relationships, and sexual intercourse, which can only be fulfilled legally in the form of marriage. In addition, marriage is not based on friendship or love, but based on sexual intercourse and agreement between a man and a woman for the exchange of sexual organs. This image of marriage and sexual relations raises various issues in Kant's field of ethics; including that opposition to individuality in the interaction between people, how is it gathered in the fulfillment of sex and marriage? Does Kant's formula of humanity make an exception in this case or does it somehow justify marriage in the same formula? Prohibition of ownership of a person's body, how can it be collected by marriage, which is the transfer of this ownership? The commentators of Kant answer these questions with the points that I will discuss in this article. Kant, along with theorists of physical law in ethics (such as Thomas Aquinas), believes that sexual intercourse with a married person is obviously devoid of any virtue, unless it is done with the motive of reproduction. Kant's opposition to certain sexual relations and/or sexual movements (such as masturbation, sexual relations with animals and homosexuals) can be understood in this context. Finally, in this article, the place of love in Kant's ethics is discussed and the question is whether we have a duty to love others.

John Dewey is one of the most important experts in the field of education in the contemporary period, and some of his teachings have become a part of the body of educational systems in the world today. Since education is an integral part of the structure of any society, any weakness in it will weaken the culture of that society. The past educational systems mainly emphasized the intellectual, moral, and religious aspects of education, but nowadays attention to other dimensions, including the aesthetic, critical, and creative dimensions, is seen as a necessity. The reason is that the aesthetic and artistic approach, along with other approaches, can represent the world and its phenomena in a different way for us and provide us with the possibility of experiencing them in a different way. Therefore, in addition to developing intellectual and moral fields, emphasis is also placed on "aesthetic education". The main issue regarding this type of education is that some have only seen it based on the perspective of genius and some based on the perspective of taste; while the aesthetic education of Taaman includes both views. As a result, every successful educational system should pay attention to the development of imagination and the creative dimension of the child's mind, as well as the development of taste to perceive and evaluate beautiful things and works. In the book "Art as an experience" Dewey's work shows attention to both perspectives, on this basis, while reviewing the topics related to aesthetics and the components of aesthetic education, we specifically reread a part of the said work focusing on aesthetic education (based on the perspective of genius and We will discuss the view of taste.

Bergson's philosophy has sometimes been regarded as dualistic and sometimes as monotheistic. The price of being partial to each has been to destroy some of Bergson's concepts and specifications in favor of others. In the meantime, some have tried to read Bergson's philosophy as dualistic and monistic at the same time, but the efforts have not only been unsatisfactory, but have also added to the previous difficulties; Because sometimes he has changed Bergson's philosophy to a philosophy of existential unity, sometimes he has made it based on a dialectical foundation, and sometimes he has turned it into a kind of conventional dualism. Gilles Deleuze, by proposing the doctrine of "difference", has given a reading of Bergson's philosophy, based on which Bergson's philosophy has different moments of dualism and monotheism, in each of which Diernard accepts a different "expression": From absolute dualism to hidden monogamy and then to recovered dualism. The purpose of this article is to highlight the fundamental difference between Deleuze's reading and other readings of existential unity or dualistic or dialectical of Bergson's philosophy, and to show that the explanation of these moments and especially the explanation of the logic of the last transition to recovered dualism requires recalling a doctrine that although Deleuze himself He cultivated it, he did not emphasize it much in his reading of Bergson. In this way, the claim is that explaining the logic of separating the moments of Bergson's philosophy in Deleuze's reading, as well as the logic of the transition from one to the other, instead of considering the two statements of Dirndt, it is necessary to consider the third statement of Dirndt as a difference in itself. This is the way that the expression of each aspect of Dirand is possible in three types of difference: Dirand as a pure thing in the essential difference, Dirand as a comprehensive thing in the difference of the material, and Dirand as a creative thing in the difference in itself.

John Cottingham focuses on two types of religious experience: general religious experience and specific religious experience. According to him, general experiences do not require special and complex education, scientific research or philosophical theorizing, but are a simple act of accepting a gift. Of course, unlike everyday observations, such experiences are not available to everyone and their realization requires special conditions. Regarding specific religious experiences, he also believes that when dealing with parts of the Bible that contain reports of such experiences, one should neither have a naturalistic or demythologizing approach, nor an appearance-oriented approach; Rather, these verses should be interpreted in such a way that both its amazing content is preserved and this content does not conflict with modern science. Using the basics of Islamic philosophy, this work has a critical review of both parts of his view. The result of these criticisms is that due to the personal nature of evidences from religious experiences, the epistemological guarantee of these experiences is obtained through the rational and revelatory method. And based on this, these experiences cannot be considered as an independent path alongside the rational and revelatory path. Also, the observation of specific religious experiences is not a sensory observation and occurs in the container of human imagination and fantasy, without being a part of these experiences, they have become a characteristic of the self.

One of the complications of Badiou's theory of the subject is that he did not provide a uniform and specific definition of the subject; And in reading his works, we are faced with different definitions of the subject, especially the subject of art. The basic question of this research is how we can provide a comprehensive and understandable definition of the subject of art in Alain Badiou's subject theory. Considering the efforts that have been made before to answer this question, this research aims to provide a new answer to this question. Unlike his predecessors and greatly influenced by Lacan, Badiou introduces a subject that is created during a process of truth. A subject that did not exist before the occurrence of an event and is created in a historical or artistic situation; But the complexity of Badiou's definition lies in the fact that despite having human characteristics, such as loyalty to an event, this subject is not a human person. Badiou introduces both the artwork and the artist as subjects in an artistic situation; And according to Badiou's definitions and subjectization procedure in Badiou's thought, we answered the question that in an artistic situation we are faced with the artist-work pair as a part of the subject faithful to the artistic event.

Gilles Deleuze can undoubtedly be considered one of the most important philosophers and theorists of cinema. In the 1980s, Deleuze wrote two volumes of cinema books, which established the main directions of cinema philosophy as a separate discipline in the university. Among different philosophers, Bergson has the most influence on Deleuze's theories. Both of them believe that time is not linear and quantitative but qualitative and non-local. The extension of this philosophy led to the formation of the chronology as the main basis of time and cinema in Deleuze's works. In the first volume of his book, Deleuze deals with movement-oriented classical cinema and in the second volume with time-oriented modern works. Time is the central element of Deleuze's modern narratives, dividing images into temporal mirrors and crystals. Deleuze strongly believed in the simultaneity of non-linear times and events in modern works. In recent years, modern Iranian cinema has turned more and more to Deleuze's philosophy and many time elements can be seen in various works. This research comes with Deleuze's modern cinema theories by examining the films of Fish and Cat made by Shahram Makri, Dragon! The work of Mani Haghighi and Homayoun Ghanizadeh's mockumentary comes to the conclusion that the filmmakers of the younger generation of Iran became more interested in non-linear events with tools such as retrospective and forward-looking, as well as the association of past, present and future times in one scene. In the meantime, Makri is strongly influenced by the time period and Mani Haghighi, as a philosophy student, borrows many elements from Deleuze in his works.

In Confessions, Rousseau is looking for his representation with all its true and natural characteristics. He claims that his true and natural self can only be understood by considering the chain of his feelings, understanding the origin of these feelings and distinguishing between them in terms of being genuine or inauthentic. Rousseau leaves the conclusion about who he is to the readers in order to clear the charge of deception and self-deception. . In addition, Rousseau believes that the only valid reading is for readers to pay attention to the chain of his feelings instead of the chain of events. In this article, by using Ricoeur's analysis of the structure and design of the narrative, the narrative identity and the art of Aristotle's poetry, it is determined that the events in Confessions are configured in the form of discordant harmony and the genre of tragedy. This narrative structure imposes a form of reading on the reader that is different from Rousseau's intended reading. In the sense that based on Ricoeur's analysis of narrative identity, Rousseau's character is formed for the audience of Confessions based on the chain of narrative events and not based on the chain of Rousseau's feelings.

By analyzing the story "Report to the Academy" by Franz Kafka and considering it in the context of Aristotle's and Heidegger's views on the explanation of man, this research has tried to achieve a new reading of the concept of man. Aristotle considers the concept of wisdom or Logos to be the foundation of human beings; he repeatedly states this opinion in his three important works, namely "Politics", "Ethics of Nicomachus" and "Poetry". Although Aristotle's opinion has been accepted in the history of thought, this does not mean that others are trying to explain new readings that did not come from humans. One of these thinkers is Martin Heidegger. In the article "Language", Heidegger, while dealing with the nature of language, also explores the nature of man. According to this research, Aristotle's emphasis on the originality of wisdom or logos on the one hand and Heidegger's interpretation of man as a linguist being on the other hand, can lead us to a new point of view. Based on this, wisdom and language are neither completely different nor completely similar. These two concepts can be used to complement each other. By referring to Kafka's story, this approach is clearly visible. Human nature is nothing but the harmony of wisdom and language.

The method of the present research is descriptive-analytical and it is discussed to express the arguments of the immortality of the soul and reincarnation in Phaedo and their similarities and differences with Orpheusian and Pythagorean doctrines. There is a difference of opinion regarding how Plato was influenced by these traditions. Some commentators believe that Plato was influenced by Orpheusian thought in expressing his eschatological teachings, and others considered them to be influenced by the Pythagoreans. Reincarnation is the most important eschatological doctrine, which has many disagreements about its origin, and some of Plato's arguments are based on it. This doctrine raises questions, such as what is the connection between liberation from the cycle of reincarnation and the divinity of the soul? In addition, what is the necessary condition of this divinity? In this article, while expressing and analyzing Plato's arguments based on Orpheusian and Pythagorean eschatological thinking, we address these questions and express our position regarding how and how they influenced much Plato.