بیژن عبدالکریمی

For Soroush, words are not pregnant with meaning but hungry for it. Non-religious knowledge breathes meaning into words, making religious knowledge entirely dependent on and grounded in non-religious knowledge. He reduces the interaction between scriptures and human knowledge to the impact of human knowledge on scriptures, limiting the factors contributing to the development of religious knowledge to conceptual and metaphysical knowledge alone. Conversely, Javadi Amoli places reason alongside transmitted religious texts as part of religion, thus collapsing the wall separating reason and religion that undergirds Soroush’s approach to the relationship between extra-scriptural knowledge and the understanding of scriptures. Javadi Amoli rejects the notion that the influence of scriptural exegesis from extra-scriptural knowledge implies that religious knowledge is human and non-religious in its origins. This is because extra-scriptural knowledge is not equivalent to extra-religious knowledge. Through a comparative analysis of these two perspectives, we can develop a more tenable alternative perspective on the relationship between scriptures and extra-scriptural knowledge.
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The Fourth Industrial Revolution represents a transformative wave in the industry with the potential to impact various facets of human existence, promising widespread individual and societal prosperity. However, it also presents a significant risk, particularly for governments not firmly rooted in democratic principles, who may be tempted to assert control over their citizens due to the expanded capabilities afforded by this revolution. Such a scenario, if realized, threatens the emergence of new dictatorships and erodes the individuality of citizens. This article, employing an analytical-descriptive approach, seeks to explore the multifaceted human rights crises precipitated by these conditions. It endeavors to address the question: How can individual freedoms and human and citizenship rights be safeguarded against governmental encroachment in this era? Based on the results of this research, due to the expansion of capabilities arising from the Fourth Industrial Revolution, the potential for government abuse is increasing more than ever, inviting all political structures towards authoritarianism. Consequently, to prevent this situation and safeguard the rights and freedoms of citizens, the current governance models need to be re-evaluated, emphasizing on aspects of enhancing freedoms. These changes should aim to reduce the intrusion of governments into personal spheres as much as possible, moving towards absolute neutrality.

The concept of "Form follows Architecture Event" serves as a contextual method within the contradictory complexities of architecture. This method facilitates the emergence of diverse interpretations through the flexible adaptation of spatial characteristics and program-oriented oppositions to one another. Simultaneously, it maintains its modern essence while reframing all actions within postmodern conditions. This qualitative research employs the grounded theory approach, with the overarching goal of achieving an objective representation of form and function in architecture following global culture. Specifically, the study seeks to answer the question, "What is the role of physical form in contemporary architecture, particularly in the context of contemporary Iranian architecture?" Data compilation and analysis were conducted through semi-structured interviews, reaching a saturation point at the 17th interview. The mean agreement of 90.37% indicates relatively complete reliability, while a Kappa coefficient greater than 0.6 describes the validity as ideal. Thus, the research's quality index is accepted, and the results can be assessed and interpreted based on the criteria of matching, generalization, comprehensibility, and control. It appears that the function of form in contemporary architecture is influenced by an objective representation of global culture. This representation engages with physical space in an event-driven format that responds to function. In the face of an evolutionary self-reflection crisis, the representation fosters a temporary transition between alternative situations. Rather than promoting a clash between two forms, it aims to establish a connection between them.

At the beginning of Being and Time, Bergson's name comes alongside Aristotle’s name when Heidegger tried to distinguish the concept of temporality from traditional time. Now, the question is why after Aristotle, the name of Bergson comes? If he meant to name the last philosopher, why didn’t he mention Husserl, who was Heidegger’s professor and was supposed to have a lecture about Time-consciousness? Why not Hegel, whose interpretation of the concept of time is the subject of the penultimate chapter in Being and Time? Why not Dilthey, whose thoughts are the focus of Heidegger’s most critical early investigations of time? However, in the footnote near the end of Being and Time, Heidegger admits that he only wanted to distinguish his thoughts from Bergson about the concept of time. But our investigations show something different. It shows that Heidegger used Bergson’s concept of time to build his theory in Being and Time. Although, recently, researchers gave a great interest to Bergson's work and his influences on Gilles Deleuze's philosophy, but the questions about Bergson's influence on phenomenology and Heidegger's philosophy had been unanswered. The increasing attention of scholars toward these questions is promising, but not enough. This article tries to answer some of these questions.

Numerous documents emphasize on the importance of clothing to cover defects in body organs and to enhance beauty. In order to understand the social and cultural functions of clothes and its role in giving identity to the members of society, clothes in different societies can be analyzed as a set of linguistic signs embodied in the type, shape and cover, reflecting values hidden in the Iranian thought system. Iranian clothing reflects the identity that originates in Iranian culture. At the same time, paying attention to semantic indicators is important. Examining the link between clothing and meaning in the studied time period--the ancient period and Zoroastrianism--is one of the cases that represent the association of clothing with humans as a guide or a warning in the path of life.

Although the current research relies on historical investigations, a historical study cannot fully express the nature of phenomena in the context of time and, thus, it is not very useful. Transhistorical approaches are formed from examining elements and signs, which add or integrate various elements related to different historical periods and styles to a specific context. Art works, visual sources, and written sources are studied under the analysis of historical clothes, and along that all religious, moral, cultural connections are evaluated and analyzed. As a rule, the examination of the written and visual sources represents those patterns that shape the structure of Iranian clothing in the ancient period while showing the relationship between the appearance of clothing and meanings. Finally, as a witness and example, one can refer to the followers of Zoroastrianism, who construct a trans-historical connections with their culture and daily life that led to the formation of symbols, signs, and of course certain clothes—including Sedra and Koshti--which represented their values, beliefs, and cultural principles. The method of collecting information in this research was library study. The review and analysis of written and visual sources proved the patterns that formed the structure of Iranian clothing in the ancient period as well as the relationship between the appearance of clothing and concepts and meanings.

The historical heritage of Iranian clothing refers to the cultural and identity roots and represents the lifestyle, thinking, customs, and rituals that are symbolic and represent special aesthetic effects, norms, beliefs, and convictions. It shows dignity and beauty, cleanliness, thoughtfulness, flexibility, and excellence; at the same time, it narrates the beliefs that are alive in the depth of Iranian clothing. Examining the cover of ancient Iran shows strength, culture, tact, attention to ethnic and regional culture, purity and chastity, and attention to beauty with a mixture with religion, history, and identity. Iranian clothing carries many symbols that express the relationship between human being and his living environment. Clothing in Iranian culture is a display of superiority. The examples presented in this article indicate adherence to humane and sublime values of Iran. In Avesta and the related texts of ancient Iran, clothing is mentioned for various reasons. Historical texts related to ancient and later periods have described Iranians as a well-dressed, graceful nation. Iranians adhere to their cultural characteristics and beliefs through their clothing; stone carvings and dressed figures left over from the past are the narrator of this story. Thus, to know the implications of clothing in Iran, one must go through history.

Iranian clothing with all its features alone is a rich cultural carrier. Since clothing can be designed as an artistic text, its evaluation and exploration can be realized through the study of historical development, artistic viewpoints, and the use of artistic concepts. In this way, visual and written sources were illuminating the connections between clothing and people’s identities. They have introduced clothing as an identity-building phenomenon. The heritage of Iran's clothing history is indebted to the thoughts, religious and spiritual values, values as well as dignity, social status, decency, and chastity. The cultural essence of clothing includes both the material and the spiritual aspects of clothing, where the movement towards excellence, connection with nature, modesty, shame, and social status can be seen in it.

This article revolves around Kierkegaard's arguments about love. Kierkegaard is a pioneer existentialism and one of the main theologians of the 19th century. Love is one of the fundamental concepts of Kierkegaard's thinking, as he dedicated one of his significant books entitled Works of Love (1847) to this concept. In this book, Kierkegaard has created a constellation of concepts related to love and has proposed a new interpretation of the Christian love. Then, he designs new concepts through separating divine love from erotic love. In modern times, love is considered a category of emotions and feelings, but for Kierkegaard it has different connotations. For him, love is a philosophical, existential and fundamental concept. He considers Christian love to be the only true love and believes that in the holy scripture, true love has found meaning in relation to God. In this article, we are going to outline Kierkegaard's opinions about divine love and love for the other and delineate the relationship between the two, while criticizing and evaluating them.

Post-modernism is the dominant aspect of the cultural belief of the time that re-frames all actions and constructs distinct ideas of experiences and conditions at the deepest levels and everything that can be known about the contemporary world; As long as the centralized power gives way to a discrete plurality, and bring to the fore a manifestation of contemporary identity in the current era. This research - which has been done using the qualitative method and the grounded theory approach - with the general purpose to analyze and interpret the identity of Iran contemporary architecture based on post-modernity and critical thought, looking for an answer to this question, How can identity, as a critical approach, have an effect on the recognition of post-modern architecture - especially in the Iran contemporary era? In this research, the systematic approach known as Strauss and Corbin's theory (2019) was used to analyse the data. According to the classification of Corbin and Strauss (2022), the systematic approach has three stages of open coding (concepts), axial coding (Casual Conditions, Actions & Interactions, Context, Intervening Conditions and Consequences) and selective coding. In the collection and extraction of the main categories and sub-categories, from the documentary and citation resources and the interview tools have been used. The special emphasis of the research is on the views and opinions of those professors and architects who work both academically and professionally. Hence, the research data has been compiled and analysed in semi-structured interviews. The responses at the highest saturation level reached relative saturation in the 17th interview. The interview process is continued until the 25th to ensure the data and obtain absolute saturation. The content of data was coded by Strauss and Corbin coding method in three stages (open, central and selective). In the coding process of 17 interviews, the frequency of the 5969 coded items, was reduced to 317 open codes from the frequency ratio of 1337 codes after refining and merging. The obtained codes, in the number of 53 axial categories and 8 selective categories, were related to the axial theme of Iran Contemporary Architecture Identity. The Observations Percentage Agreement of 90.37% indicates relatively complete reliability and coverage of criterion level of more than 0.6 of Kappa coefficient, describing validity as ideal. Therefore, the research quality index is acceptable, and the reliability and validity of the research are confirmed. The research results can be valuable and interpreted by examining the criteria of matching, generalization, understanding, and control. The findings show that the result of summarizing the causal variables of the research in the mediating conditions of the existing situation, provides an event that in a fundamental attitude, between the (narcissism to self-defeat) truth and (self-belief) Iranian essence, and in a historical discourse, between a re-reading of what exists and a re-presentation of what should exists, in a Preventive (and not Mandatory) form and in a reading of a critical realism and feedback interpretation of self-reflection evaluation from the feedback of others, they recreate the way of being.

The contemporary world, due to the penetration of new means of communication, sees its own identity constantly changing its criteria, transformation and crisis. A global perspective on the changing nature of modern architecture provides fundamental insights into issues such as the impact of technology on architecture based on the relationship between tradition and innovation. In the meantime, with the occurrence of the industrial revolution, a new technological production method is emerging; which relies on the Machinism. In this way, capital occurs as an important factor of production and other currents in development emerge; which have established new theorizations in the postmodernism era and globalization. The findings of the research show that Globalization or tradition is the result of tradition and modernity challenge in the context of global culture and its achievement is affected by Industry, Capital, Technology and Competition. This research aims to find the roots of Iran contemporary architecture backwardness problem from world architecture and the process of globalization with a qualitative method and in a historical format. It seems that the root of many failures lies in the understanding of the existing conditions of architecture and the ability to recognize historical discourses.

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.

This article follows Heidegger’s criticism and analysis of Bergson’s philosophy of life. Heidegger’s interest is because Bergson is looking for a way to understand life as it is. In his research, Heidegger considers some of Bergson’s opinions promising, such as paying attention to the concept of time as a key to grasping the truth. Still, he criticizes some of Bergson’s theories, such as the inadequacy of language in understanding life. In general, the results of this research are divided into three parts; In the first part, the concept of time in Bergson’s philosophy is given as a key to understanding life, where Heidegger introduces Bergson as one of the pioneers of modern philosophy. The second part of the article is devoted to the issue of language and the inadequacy of the concept in Bergson’s philosophy. In the third and final part, Heidegger criticizes Bergson’s theories about language and tries to find a way to understand the truth through the concept of time. Attention to consciousness and its connection with life through Bergson’s time or duration is another topic of great importance to Heidegger. Despite all of Heidegger’s criticisms of the philosophy of life, he still considers Bergson’s work as the most promising research and effort to reach the truth.

Abstract
Nietzsche unfolds his radical critique of Western culture due to its emergence from the metaphysical thinking. For Nietzsche, Western culture as a set of metaphysical valuation systems has resulted in nihilism and absurdity of all values. With a genealogical, etymological and historical method, Nietzsche exhibited the logic of metaphysical decadence under his criticisms in the three fields of philosophy, ethics and religion, and sought to get rid of Western metaphysics and the resulting nihilism as a new thing by marketing values ​​in the personality of the Artist-philosopher. he does. Meanwhile, in his thought, the “Artist-philosopher” figure goes beyond the metaphysical oppositions. He is aware of his difference from others due to the hierarchy resulted from will to power, and the “pathos of distance” has caused him to be in the ruling caste. He lives in the realm of fronties and dangers with his creation power, creates new values for overcoming nihilism with his noble form of life, a different form of life which embraces the fusion of mind and passion in the Dionysian-Apollonian unity, and joyously affirms his spiritual world.
 
Keywords: Metaphysics, Nihilism, Decadence, New Thing, Artist-Philosopher
 
 
Nietzsche, as one of the main critics of Western philosophy, introduces nihilism as the final result of Western metaphysical thinking and the dominant intellectual current of the two centuries after him, in which old values have become meaningless and cannot be considered a prescription for today's human life. Nietzsche considers the soil of the metaphysical plant to be the concept of decadence, which the more it distances itself from the Hellenic bio-world, it prepares for itself the path of irreversible decline and decadence, the inevitable result of which will be meaninglessness. From Nietzsche's point of view, decadence is the matter by which life, and nature are emptied of their meaningful form and the existence is transformed into a meaningless thing, therefore it leads to nihilism. Therefore, according to the concept of decadence as the bedrock of nihilism, the thought so far has suffered It has become a metaphysical disease of thought, which Nietzsche criticizes radically under the three domains of philosophy, ethics and religion.
    The main issue and question in this article is whether, from Nietzsche's point of view, metaphysical thinking, like Western philosophy, has led to nihilism, and how has this been realized? What is the main figure of nihilism and what are the signs and symptoms of nihilism? How has the logic of decadence as the bedrock of nihilism led to the construction of the last man, and finally, what will be the way or ways to pass this nihilism from Nietzsche's point of view?
 
Nietzsche criticizes Western philosophy with a genealogical, etymological and historical method and considers the way to get rid of Western metaphysics and the resulting nihilism to be a re-evaluation of values in the way and behavior of art and artist. What in Nietzsche's thought is from the realm of illness, which is the realm of metaphysical thought and is discussed with the logic of decadence, will lead to Nietzsche's triple criticism of metaphysics, and what is raised under the realm of health in Nietzsche's thought refers to Nietzsche's solution to overcome metaphysical nihilism.
    In Nietzsche's genealogical critique, from the field of philosophy by returning to Platonic-Aristotelian-Kantian thinking under the concept of similarity, and in the field of ethics, which has led to general orders and to the thought of homogenizing and leveling people, under herd ethics, and in the field of Christianity, by presenting its generalizing, unifying and democratic theoretical values to It leads to the equalization of all strong and weak species and makes the patient equal next to the healthy under original sin.
 
In this article and in the following, Nietzsche's critiques of Western metaphysical philosophy, we have presented a section entitled "The New" in his thought. The new in Nietzsche's thinking is obtained as a result of philosophizing with a hammer, as a result of which all dominant metaphysical values are overturned at once. Nietzsche considers the European man to be the last man who has the legacy of metaphysical nihilism and is necessary for the emergence of a new post-metaphysical era, because with his decadent and democratic values, he brings nihilism to its peak and helps to build a new world. Nietzsche's new perspective provides multiple possibilities for life, thinking and truth and makes the future pregnant with multiple ideas.
    The new in Nietzsche's thinking invites us to overcome the dualisms of the metaphysical tradition. In Nietzsche's thinking, returning to nature is the first way out of nihilism. Nietzsche considers the alternative of metaphysical thinking in the field of knowledge to be the idea of difference, and in the field of ethics, the superior caste, and in the field of religion, art as a noble style, meaning the unity of poetic reason and joyful passion, which is an Apollonian-Dionysian unity.
 
The new in Nietzsche's thinking can be seen as the final summation of his main opinions, which are expressed in the general format of the new valuations of the post-metaphysical world. Nietzsche followed the roots of Western thought in the opinions of Plato and Aristotle with the genealogical method and by returning to the origin of Western culture i.e. Greece, and influenced by the origin of this culture, he shows us its destination, which is metaphysical thought. Nietzsche, who is struggling with the crisis of meaning, considers the flow of Western culture, which is completely immersed in metaphysical thinking, towards nihilism. Nietzsche saw nihilism as the result of metaphysical thinking, the definitive trend of the next two centuries after him. In his three criticisms, Nietzsche considers the logic of decadence as a platform for nihilism in the three domains of philosophy, ethics, and Christianity. In Nietzsche's thinking, the new is simultaneously destructive and creative: the destruction of the concepts and values of the metaphysical world and the creation of new values of the post-metaphysical world. In the depth of Nietzsche's aristocratic culture, the new is present, which means multiple possibilities of living and thinking in the future. In Nietzsche's view, the superhuman and post-metaphysical character is the artist-philosopher who bears the heavy burden of the new. At the heart of Nietzsche's alternative plan for the nihilism of metaphysical thinking, there is a place for the artist-philosopher, who, from his point of view, is a different character, he is beyond confrontations, lives in danger, stands at the borders and makes the existence of the new thing clear and visible. Finally, the personality of the artist in Nietzsche's modern world, with the example of the noble style, which is the Apollonian-Dionysian unity of art, enables new thinking.

In the new world, metaphysical thinking, that is, conceptual thinking, proposition-oriented, logic-dominated, and as a technical matter, transferable and inter-subjective, has gained complete dominance over the globe, to such extent that the metaphysically obsessed human of our era has lost his familiarity and intimacy with any kind of spiritual knowledge, non-scientific, non-theoretical, non-objective and non-methodical, which was considered as a fundamental part of human experiences in historical theoretical traditions.This is while scientific knowledge which is objective and methodical cognition is not the only form of awareness but forms only a part of the human experience. Alongside scientific knowledge, as emphasized in all historical traditions other than metaphysical ones, spiritual knowledge forms a fundamental and inevitable part of human experiences.From Heidegger’s point of view, metaphysical subjectivism has led to the “homelessness” of modern humans. He refers to art and artistic experience in order to criticize metaphysical subjectivism and detach from it and to show that contrary to metaphysical thinking neither can we reduce the human to a subject (the agent of scientific and theoretical cognition) nor can we consider the world only an object for that subject for cognition purposes nor can we consider subject-object relation i.e., theoretical and scientific relation as the most important relation and the foundation of any kind of relationship between human and the world.This research attempts to show that in Heidegger’s thought by allowing the presence of “absence” in an artistic work the artists are not just preparing the scene for the occurrence of truth for existence but also by making us aware of the distinction between “existence” and “being” detach us from subjectivism which consequently will cause an opening window towards the spiritual matter.

This research has presented a discourse analysis based on the theory of Laclau and Mouffe,on how the system of the Islamic Republic has been managed from the beginning of the revolution until now, towards artists. In any society,the artist class is considered as a leading class with a characteristic of thinking,which plays a major role in influencing society.This study has tried to argue that the subject of the discourse of the Islamic Republic of Iran,to expand among the artist class,based on different types of articulation of discourse,according to the context of different governments(both fundamentalist and reformist),contains There have been many different characteristics,some of which include internal contradictions in the ideal situation of the subject of the discourse of the Islamic Republic of Iran.The result emphasizes that;The field of culture is rooted in the fundamental ideas that are rooted in the central signifier.If this foundation freely covers all its intellectual and cultural spheres, it can be hoped for.The present study is in the category of "developmental research" in terms of purpose and in terms of method, has used the type of "content analysis" and in terms of approach,is based on the views of "Laclau and Mufe".

One of the three constituent elements of all classical metaphysics is the theory of Soul. Along with the soul, Kant also introduced the world and God as other pillars of transcendental metaphysics, and explained their relation to each other as the outlines of the "science of philosophy" in the third critique. In order to achieve this, he believes that each of these three pillars needs to be analyzed in the context of critical philosophy so that the historical knots of traditional metaphysics can be opened and philosophy can move forward and progress like basic sciences such as mathematics and physics. In the transcendental dialectic of the Critique of Pure Reason, he examines the claims of the metaphysical's counterfeiters in four well-known fallacies, and shows why they are barren. In addition to describing the approach of traditional metaphysicians during this two Kant's serious discussions of the soul- one as a condition of cognition and the other as part of traditional metaphysics and its implicit fallacies- this paper seeks to show how the soul as one of the pillars of the Science of Philosophy and the "complete philosophical system" is formulated in Kant's critical philosophy, and for this formulation how to reject Cartesian psychology.

As a pioneer of historical thinkers, Vico laid out the origins of his historical thought in his critique of Cartesian mathematicalism. Descartes' effort, is not to attain the truth, but to attain certainty with the criterion of clarity and distinction. He sought to make all the sciences sure in this way. On the base of this point of view, all humanities, including history are excluded from the sphere of sciences, which means forgetting much heritage of the past. Vico considers Descartes’ unhistorical and static understanding of human nature as the most important philosophical problem of French philosopher. For Vico the nature of man and consequently his thinking and Reason have transformed throughout the history. Vico justifies this transformation in different periods of history with corresponding forms of reasoning. On the base of his epistemological rule, namely “the real is constructive”, Vico conceives making something as the condition of knowing it. Therefore, he believes that history and all human achievements, are man-made and intrinsically constructed and hence are recognizable through empathetic insight and the power of imagination. Vico believes that the outcome of Cartesian philosophy is nothing other than human being’s disconnection from history and society. For Vico, the true knowledge of everything is knowledge through its causes or, in other words, historical knowledge about it. Although Vico considers history as the result of man-made activites, he conceives divine providence as the leader and guide of history. In Vico's view, understanding history in any given period is possible through a proper understanding of the intellectual framework and principles governing that period.

Like Friedrich Nietzsche, Martin Heidegger considers the history of metaphysics to be the history of the development of nihilism. However, in Heidegger’s view, the situation of modern man, what has made human beings homeless, unlike what Nietzsche said, is not a construction of an imaginary world which we have imagined to be real and valuable, and through which we have deemed our worldly life and natural needs worthless. Heidegger argues that true nihilism is where metaphysics, through its subjective approach, confuses the Being and the beings in the background of what comes into presence, that is, the remaining beings, and thus forgets even the question of Being. Heidegger,therefore, considers metaphysical subjectivism to be the main element in the nihilistic state of modern man. Accordingly, the present study examines the question of the possibility of breaking away from subjectivism as our philosophical necessity today.

In addition to answering the question of what nihilism, metaphysics, and subjectivism are in Heidegger’s thought, the present article seeks to provide a critical account of art as a means of breaking away from subjectivism.

As to the content and objectives of this research, the descriptive method has been used.

Based onHeidegger’s interpretation of Hölderlin’s poem Mnemosyne in the essay What Are Poets For?, as well as his description of Paul Cézanne’s work, it is argued that through allowing the presence of nothingness in the work of art, the artist not only prepares the scene for the occurrence of the truth of Being but also eliminates the dichotomy between Being and beings by informing us about the distinction and make it a mysterious unity, thus enabling us to break away from subjectivism.

Rousseau's ideas have influenced almost all the great philosophers after him, but scholars agree that his greatest and most important influence can be seen in Kant's works. Kant is influenced by Rousseau's ideas in his moral philosophy, political and social philosophy, and also his critique of metaphysics. Kant's conception of human nature, as well as the concept of autonomous will which is one of the important foundations of Kant's ethics are rooted in Rousseau's idea of the public will in his book social contract. Rousseau not only influenced the content of Kant's moral thought, but his influence can be seen even in the language and style of Kant's writing. Rousseau's works convinced Kant that metaphysics is potentially hostile to practical ethics, and where reason could not work, it would be better to allow metaphysics to follow practical needs. Rousseau's statements in Emile as well as in The New Heloise also played a role in shaping Kant's moral thought. In the present article, we examine Rousseau's place in the development of Kantian ethics.

Husserl's departure for the rejecting of the duality (subject and object) inherent in the nature of the Western metaphysical tradition is the transcendental structure of consciousness. Hence the innate foundation of consciousness is intention. The intention is the act of consciousness and practical objectification; That is, by resorting to methodological and Noesis steps, objects from the type of perception can emerge and are included in the consciousness of the mind. Therefore, in addition to sensory intuition, consciousness has the power of intuition of essences. Therefore, consciousness is always associated with its object. In this way, Husserl's methodological axis in phenomenology is the return to objects, and this return is provided by the power of human comprehension and makes the world its intention's object. This article seeks to explain how the phenomenon of the world is made in the realm of consciousness, as well as how the pure subject and advanced mind in the face of the objective world as the only method of understanding and receiving the universe can be an objectifying action.

Nietzsche believed that metaphysicians considered their beliefs to be true and gave their ideas an objective truth. Nietzsche claims that all human values and beliefs, including belief in God, arose from the perspective of the desire for power and in order to preserve and preserve human life and usefulness; Without being able to give an objective existence to these ideas. This is exactly where Nietzsche finds the Western metaphysics vulnerable, because the followers of this knowledge considered the personal truth according to their own interpretation, thus removing the role of preserving life from the attributes of God and turning it against themselves. . Nietzsche, on the other hand, analyzed the pragmatist basis of the idea of God and reconstructed it in the next step. This article tries to show the philosopher's plan for God by analyzing the history of metaphysics in Nietzsche's thought and its relation to the classical idea of God, as well as trying to design another human being in the world to come.

Kant’s third critique’s emphasis is on the analysis of the beautiful, individuality of the subject along with the possibility of aesthetic judgement’s universality. On the one hand, Kant considers the attainment of universal validity favorable in two essential forms of pleasure and attention, and on the other hand, deems the issue of collectivity significant for the theme of individualism as universal validity is necessary for aesthetic judgement , it is therefore possible to envision two different outlooks for individuality in the third critique; one in which the necessity addresses its foundation and the other in which its structure is to be based on the necessity of pleasure. The evolution of this course in classical and modern literature will be studied. What constitutes the classical literature is the necessity of attention and what embraces modern literature is the necessity of pleasure and both necessities are rooted in individuality. The very essence of the necessity of attention is the sacred and religious beliefs and the root of the necessity of pleasure is aesthetics. Phaedra kills himself in Hippolytus’ play because he intends to take the pleasure of the gods with him by relying on religious belief. In the struggle with this death, Phaedra kills himself in the play of Phaedra’s love to take revenge on Hippolytus. In other words, the first place is suicide for the satisfaction of heaven and the second place is suicide for one’s own satisfaction. Basically, the movement of theatrical characters from the ownership of the body for the gods to the ownership of the body for itself is rooted in the issue of individualism; It is enough that the word suicide has never entered the dictionary since the era of Romanticism. Thus, the analogy between the death of the classical Phaedra and the death of the modern Phaedra is under the banner of aesthetic and religious necessities, which find their roots in Kant’s third critique. The first has a religious death and the second an aesthetic death. This evolution and sum of all these topics can form the structure of this research. Where man chooses himself at the crossroads of his choice and the gods.

With the advent of new media, consumption got prominence not only because of its function in meeting the needs but also as an epistemological phenomena. Following the appearance of media and formation of different social classes and the possibility of informing others’ lives, consumption helped us to know the identities of individuals and to internalize our epistemological aspect of different phenomena. The meaning of the concept of consumption changed with the appearance of social media to the extent that it put an end to the old epistemological relation of subject and object as they become unified the result of which was that everything in virtual world became different; it was as a consuming phenomenon. Consuming meant as expiring, wasting and blasting. Now, the main is that how would be the status of art? Comparing Jean Baudrillard early works such as »Consumer Society« with his new recent writings namely »Satanic resemblance through the scholars’ viewpoints of social networking «illuminates that »art« as any other phenomena is looked as a consumed material ;it has lost its relation with the reality.

A comparative look at Tabatabai's theory of "interpretation" and Sorush's theory of "apostolic dreams" shows that both of them do not consider the sacred text to be confined to its historical structure, and think about the truth and essence of the sacred text behind its appearance. The theory of interpretation, which is the arc of ascent, the opposite of the arc of descent, and means discovering the connection between the existing Quran and its objective truth (i.e. the Hidden Book or the Mother of the Book), is superior to the theory of apostolic dreams for various reasons: 1. Theory of interpretation is consistent with the Semitic, Hebrew and Islamic traditions 2. It covers all evidence at the same time 3. It is in full accordance with the appearance of the Quran 4. It accepts the holiness and humanity of the Quran 5. It can respond to the concerns mentioned in the sixth article of the Apostolic Dreams, which made Sorush consider the Quran to be man-made and dreamlike 6. Adopting a mystical approach and employing the theory of interpretation of "the Mother of the Book" has caused Tabatabai, unlike Sorush, to go beyond the knowledge of propositions and reach existential and intuitive knowledge. But Sorush, by accepting the expansion of prophetic experience and apostolic dreams, has eliminated the problem instead of solving it.