فاطمه بنویدی

According to the views of education experts, aesthetic experience and understanding of art is a vital part of a flourishing life. The main purpose of this research is to investigate the role of aesthetic experience in children's education. To achieve this goal, the first step is to defend the necessity of aesthetic education for children based on the analysis of existing philosophical justifications. For this purpose, the descriptive-analytical research method has been used. Several philosophical justifications have been proposed for the necessity of aesthetic education, whose critical evaluation shows that the only answer is based on aesthetic experience, which makes it possible to defend art based on its distinctive value. Therefore, aesthetic education for children can be taken as justifiable and necessary independent of art's contribution to expression and its role in moral promotion. This is because the aesthetic experience and understanding of art is a vital component in flourishing life, and being exposed to the aesthetic experience opens up ways for human growth that no other type of experience can do. The findings of this research indicate that even if art education does not lead to innovation and improved skills that can be measured with quantitative methods, it should have an important place in schools and curricula. A curriculum without aesthetic training and proper appreciation for the arts ignores our goal of raising flourishing human beings worthy of meaningful aesthetic experiences. Also, aesthetic education should not be limited to people and subject-matters, but should cover the entire curriculum.

Images are able to show completely different things fromthemselves and have fascinated philosophers since Plato.Among the philosophers who have dealt with this field arephenomenologists, who approach images from differentangles. Some philosophers who study phenomenologicalaesthetics consider art as the perception of the visible.In this article, we try to answer the question, what is theimportance of art and aesthetics for philosophy, and howcan phenomenological concepts be used to understandabstraction in painting? Does phenomenology add anythingnew to our understanding of painting? Influenced by thefounder of phenomenology, Edmund Husserl, we draw onspecific concepts - horizon, phenomenological reduction,life-world, epoch - and show what the connection is betweenabstraction, the world, and phenomenological reduction.Abstraction shows the relationship between the world andthe horizon. Pictorial reduction reveals how the horizon ofthe world and surprises the viewer. Or how past horizonsmake up for our present experience. Relying on Husserlianframework and descriptive-analytical method, we must beprepared to look at artwork without any presuppositions, toset aside habitual expectations, and to react directly to thedynamic relationships of the visible elements of color andform. Thus, this reading works by reducing, eliminating,and concentrating, and it requires an active response, nota passive acceptance. In this reading, the work of art is anobject to motivate thought, but not in the way that inanimatenature, landscape, portrait, or narrative might be. In fact, ourjudgment of the effect depends on how the effect penetratesour consciousness and affects our feelings and thoughts.Thus, the artist, like a phenomenologist, moves away fromthe natural and everyday world and looks deeper into theworld, reviving the forgotten biosphere and filling the gapbetween consciousness and the world. In other words, theyboth rebuild the world and both return to the world. It thusrefers to the abstract concept of the return to the world and theinternal relations of the world that are not known. With thisreading we have shown that abstraction is not a separationfrom the world or nature, but a different experience of it.In fact, abstraction is a useful tool for expressing a varietyof experiences and ideas. In other words, abstraction maymean something positive, a “return” to a deeply globalrelationship, though not explicitly recognized. Also,considering the distinction between the phenomenologicalepoch and the aesthetic epoch, we conclude that the wholepainting is abstract and non-figurative. Finally, and surely arthas long been the subject of phenomenological philosophicalstudies, which in turn gives way to the expression of humanlife. However, the tradition of phenomenological aestheticsis still in its infancy and its identity is very fluid, and thepossibility of phenomenological aesthetics can still be posedas a living question.

In the last two decades, the concept of health has gained such a wide range of applications that it can no longer be defined or explained solely on the basis of traditional, conventional or classical theories.Health is now one of the areas of interest in the interdisciplinary field.One of these areas is media and health, because the media can be effective in making the audience smarter and trying to change the behavior of citizens in the field of health.This article tries to address the quality of the success of this issue [media and health] with a critical-social approach and Habermas theory.The theory of communication and dual interaction between the universe and the Habermas system has been used to answer the main question of the article namely: "Has the media been useful in the improvement of health of citizens?"

First, the key concepts of Habermaschr('39') theoretical approach were explained; Then, using Habermas concepts and ideas, health issues  that are empirically researchable and have a strong impact are identified, and  research questions are answered.

In fact, research in the field of health indicates the special role and importance of this field in the continuation of individual and social life of the human race. On the one hand, these researches have established a very wide tendency towards cooperation and integration with behavioral sciences and biomedicine, and on the other hand, they show closeness and symmetry with critical social sciences, social theory and cultural criticism.

According to Habermas, one of the most important reasons for citizenschr('39') disregard of health and the failure of the media in this regard is the lack of balance between rationalization of the system and rationalization of the world and the use of strategic action instead of communication. The imbalance has also led to de-specialization, jeopardizing trust in physician-patient interaction, and major phenomena such as customer orientation and consumerism.

The question of research is what the essence of life is and how life manifests in art. This article addresses the arguments of Michel Henry, a 20th century phenomenologist. The concept of life is very important to Henry because life is a spontaneous manifestation, as a phenomenological life itself, which constantly presents itself as what Henry calls Pathos. He seeks to restore the true meaning of life, which is invisible and internalized in a forgotten modern worldview. Because modern worldview has reduced the value of life to the outer world by oblivion of all realities. Art plays a central role in Henry's phenomenology. He was interested in art before the eighteenth century as well as in the abstract art of the twentieth century. He has written a book on this subject, Seeing the Invisible (1988) and draws on Kandinsky's work in this work. Henry's explicit purpose in writing this book is to clarify the importance of discovering Kandinsky's abstract painting. In Kandinsky's writings, Henry discovers a kind of material phenomenology, for he believe’s that he [Kandinsky] has made a phenomenological reduction in the representation of the visible world, which reduces us to a mere conception of the elements of painting. Henry admires abstract art, wich art that seeks to fundamentally guide the artist and audience. He argues here that after Kandinsky, art no longer seeks to represent the world and its objects, and thus ceases its focus on the visible, and instead focuses on the invisible concept, or what Kandinsky and Henry call "inner", it changes. Thus, Henry is one of the phenomenologists who advocate the possibility of invisible experience with more attention to visual elements such as dots, lines, surfaces, shapes and colors. Henry's phenomenology of abstract painting, therefore, takes us one step further from Husserl and Merleau-Ponty. Henry's purpose in all his writings was to separate the inside from the outside. For him, painting is important because it can reveal the essence of life. According to Henry, Kandinsky's paintings express the phenomenological essence of life. What really stands out is not what we see in paintings, but what we feel. He sees the primary purpose of the art of painting as the expression of "invisible" forces, not the "irony of the visible world." Also his main idea is that in Kandinsky abstraction is more than a specific movement in painting, and Kandinsky shows the profound truth of all art, that all art is "abstract". In addition, an interview has been published entitled "The Art and Phenomenology of Life" (1996), which illustrates Henry's view of the aesthetics and philosophy of art. Our aim in this article is to show from Henry's perspective - how art can be the most appropriate place in the modern world for the manifestation of aesthetic values; how abstract painting leads us to all paintings; In short, how life manifests in art. In this short article, we will deal with these issues and the importance of painting from Henry's perspective in a descriptive and analytical way.

The problem of the present study is in the first place to explain why painting is important. This article rereads the views of Steven Crowell and Paul Crowder in the tradition of phenomenology. According to them, painting is not just a transfer of empirical information, but also contains a deep philosophical insight that can be explored based on the components: silence, level, place and time. Along these components, the two concepts of ideal beauty and metaphysical beauty are also proposed. In this article and in the second place, the set of mentioned concepts is used to achieve an alternative reading in Iranian painting. Using descriptive and analytical methods and using the opinions of these two phenomenologists, the author tries to present the importance of Iranian painting with an alternative reading [compared to traditionalist and historiographical readings]. By re-reading their opinions, it is concluded that the reason for the importance of Iranian painting is the way it creates a confrontation with a deeper reality and beyond everyday perception. An encounter that reminds us of our ontological role compared to other beings; It transcends our finite limitations and invites us to delve deeper into the mystery of Being and in this way approach a form of aesthetic excellence.

The main question is what is pathos and what can it have to do with art? Pathos is one of the concepts that is very important in Aristotle's thought. To the extent that contemporary researches emphasize the importance of the pathos and its fundamental role in the reading of Aristotle's thought. Heidegger was one of the first scholars to pay attention to Pathos in contemporary times. Subsequently, the French phenomenologist Michel Henry has been critical of Heidegger in his relation to Heidegger, and the theoretical origins of this article are rooted in Henry's ideas about Pathos. Michelle Henry has a critical reading of Heidegger and Husserl and calls his phenomenology "Phenomenology of life." He believes that real life is invisible and the secret meaning of life is as a pathos that can only be experienced within. According to Henry, art, especially abstract art, has been able to show this invisible meaning. Unlike Heidegger, he places the essence of art in life, not in the world. In other words, he views the task of art not as an external exposition of the world but an internal expression of the pathos of life. He also sees art as the way to save man from modern worldview. Henry traces the origins of "Pathos" to Greece, but the meaning he derives from it differs from its conventional historical view. In Henry's reading of Pathos, the pain and suffering that comes with Aristotle's work becomes the idea of liberation and pleasure. That is to say, contrary to the popular perception that it has the destructive effect of Pathos and also the "suffering", it does not necessarily have a destructive effect on Henry Pathos and can lead to emancipation. That is, Pathos makes something come true.In the end, he views Pathos as a pain and pleasure that liberates and promotes it and places it at the center of human life, believing that some works of art can best represent it. Henry reminds us that the origin is the work of art, not the world. In other words, for Henry it is the task of the art of expressing the inner pathos of life rather than as Heidegger thought of " disclose the exteriority of the world". For this reason, for an artist like Kandinsky, Henry is someone who looks at the world and phenomena more deeply than other peer-reviewed artists and can reflect on the inner experience in his work. In the end it can be said that the distinguishing feature of Henry's reading of the concept of "pathos" is that it can show the power of the artwork. Because, according to this reading, the work of art reveals what lies in the visible world and forces the audience to look deeper into the world.

Every culture has its own conception of poetry and approaches it differently. This paper draws on phenomenological approach, in specific that of Mikel Dufrenne, to compare it with Structuralism’s approach. Dufrenne makes use of two Husserlian concepts, noema and noesis, to show the difference between these two approaches to poetry. He contends that Structuralist commentaries does not provide much in terms of enjoying and understanding poetry because it says almost nothing to get us in close touch with the lived experience of poet and the world of his work. Phenomenological approach, on the contrary, moves from noema toward noesis and as such gives a way to the world of the work and yields an aesthetic understanding of it. Dufrenne sees the world of the work not as represented but instead as a world that can be traced back to poet’s lived experience to which Structuralist rules grant no access. Based on a comparative-analysis method, this paper would compare these two approaches.

Mikel Dufrenne is one of the most important figures in phenomenology of art. His voluminous book named phenomenology of aesthetic experience has created a fundamental development in aesthetics، which continued and formed the book called about poetry. This book is one of the most considerable events in modern history of philosophy، and also the second complete French work as «phenomenology»، and only in this case Merleau-Ponty''s phenomenology of perception takes precedence. Dufrenne undoubtedly has been fully informed about works of different philosophers such as: Moritz Geiger and his emphasis on the experience of aesthetic pleasure in phenomenological psychology، Roman Ingarden and his emphasis on the role of art in shaping the actions of intentionality is sufficient; and has completely read Sartre and Merleau-Ponty''s works. Also، in their essays covers a lot of ground and draws into his discussion on aesthetics a whole range of thinkers، including Barthes، Foucault، Lyotard، Metz، Freud and Derrida …. These essays are well worth reading both for the quality of the writing and for the continual insights which come to the surface along the way. From the very beginning he clearly does not follow the exact footsteps of Husserl، but he wants to understand phenomenology as Sartre and Merleau-Ponty used this French term. Aesthetic perception is one of the controversial discussions on the new aesthetics that Dufrenne has tried to express it from a special point of view. In his idea، artwork provides a structure for an aesthetic object which is the most important distinction between these two in perception. In this paper، we try to determine this differentiation and show the process of aesthetic perception and role of imagination from Dufrenne’s point of view. Dufrenne distinguishes three stages in aesthetic perception. The first stage is presence which he is influenced by Merleau-Ponty at this stage. The second stage is imagination which he is influenced by Sartre and the third stage is perception and feeling influenced by Kant. In Dufrenne’s idea in understanding the art work، the spectator of art work should understand these three aspects simultaneously. Therefore، in this quest we try to examine the second stage by descriptive and analytical method and also propound the impact that Dufrenne got from Sartre. Library research and writing studies and theoretical study of internal and external sources، we have analyzed the views Dufrenne. A qualitative approach to data analysis is based on a phenomenological approach. Also، the influence of Sartre Dufrenne been mentioned. Finally، Dufrenne concluded that imagination is a process of perception and protests Sartre for neglecting understanding because of the mind and emotions and considers this negligence the reason of Sartre’s misinterpretation of aesthetic experience. Emphasis on aesthetic perception، Merleau-Ponty Dufrenne closer to the generally accepted position. He tries to talk about the perception of the nature of aesthetic experience to explain and discuss the position of Sartre and Merleau-Ponty on the Judiciary emphasizes the fact that the perception will be driven approach. However، the discussion of the object and its relationship with Merleau-Ponty perception is also controversial.

Hegel’s interpretation of Sophocles’ Antigone is surely one of the best we can find in literature or philosophy. In his book “Phenomenology of Spirit”, Hegel goes through insightful interpretations of Antigone and analyzes this work based on his own system of philosophy. Hegel is one of the few systematic philosophers who made a universal body of philosophy which is supposed to overwhelm all humanity’s questions and problems. Therefore in order to understand Antigone based on Hegel’s thoughts we should firstly get familiar with the basic ideas of Hegel. It seems that one of the main questions which can be regarded as the beginning point for Hegel is the relationship between God and human. In Christianity, God is in the shape of human and in Christian theology God is incarnated in a human being. The quality of God’s incarnation in Christ was irrational to young Hegel. He was thinking how it is possible that Infinite God can be incarnated in finite physical body of a human called Christ. This problem at the beginning is purely theoretical however later it becomes all his philosophy and inspires his absolute idealism. Theoretically speaking, the problem of God’s incarnation in Christ is that when we state it philosophically, it is the relation of the Infinite with the finite and when we state it politically it changes into the relation of the Government and an individual. In his book, Phenomenology of Spirit and also in his Aesthetics, Hegel presents inspiring ideas regarding the tragedy. Most western researchers believe that since Aristotle’s time, none of the European thinkers have been able to explain comedy and tragedy the way Hegel has done and his deep points of view have made his post-thinkers reflect on them. In Hegel’s view, Sophocles’ Antigone is a sample of Greek tragedy. In his famous work, Philosophy of Fine Arts, Hegel deals with the explanation of the tragedy of Antigone. Therefore, in this paper, considering our available means, the authors plan to portrait the rise and fall of the moments of tragedy and explain the event, “conscience malheureuse”, portrait “Tragic Clash” and rethink for moments. The gods, especially Zeus, are often dispensers of fate, sometimes superior to it, and sometimes constrained by it. Zeus and fate somehow determine events, but men have free will: fate exploits the character of men to maintain cosmic order. The Greeks are in harmony with nature; then a rift opens up between freedom and fate necessity; finally, Christianity begins the reign of providence. Hegel is also influenced by the Greek concept of fate, especially moria (‘allotted portion (especially of death), fate’, also personified s moira, ‘the Fates’), which approach in epic, tragedy and, especially in the guise of ananke (‘NECESSITY’), in pre-Socratic philosophers (especially Heraclitus). Thus, in this paper through the method of analytical-descriptive we intend to find out Hegel’s main philosophical problem and then we justify why Hegel had turned to Greek playwrights specifically Sophocles’ Antigone. At the end, we will discuss the idea of historical destination.

The discussion on the Romantic Art for philosophers has been challenging. Hegel as a Idealist German philosopher in traditional philosophy, since examining the special approach to Romantic Art analysis, has made most of thinker after him ponder on Hegelian genius points of view due to the importance of matters in his thoughts. The discussion on the Romantic Art for philosophers has been challenging. Hegel as a Idealist German philosopher in traditional philosophy, since examining the special approach to Romantic Art analysis, has made most of thinker after him ponder on Hegelian genius points of view due to the importance of matters in his thoughts.Hegel is well known by the book “Phenomenology of Soul and Logical Science” but he didnt publish anything independently on Aesthetics. This doesn’t mean that he had been regardless to Art and Aesthetics. Indeed, the Aesthetic theory of Hegel arises from the center of philosophical systems which could introduce a landscape of it. The main theme of Hegel’s thought is the relation between infinite and finite; Hegel solution this problem by dialectic method. The Hegelian dialectic has a special character, for example; one of its characters is dynamic being. According to Hegelian thought, in the Whole of the being World, we can see this dynamic aspect is in Romantic Art specially music. The music is an abstract matter the same as Hegelian Logical Idea. As the Romantic Art has been separated of social faction, it is an acceptable and the most fundamental reason that music must be abstract. This abstraction links music to Logical Idea. The usages of music example help Hegel to explain the motion of thought in Logic. The music can explain spiritual and inner life which is considered by romantic thinkers, so it is better than painting. The music moves in time the same as subjective life. Music and symphony were so outstanding in Germany and France at that time. Goethe, Hugo, Holderline, schilling and schiller and etc. were romantic; but Hegel neglected literature and painting and concentrated on music. The cause of this regard is the nature of music. Music is somatic and doesn’t have a material, it is invisible like soul when the absolute soul wanted to appear in sculpture but it couldn’t reflect the soul. The music is the melody of the lack of soul. Soul has understood that arts are not its statements. Then, the music is the best Art in modern period. The trace of romantic music is in Hegelian dialectical logic because Hegel’s logic is movement in logic. It is planned for demonstrating conceptual anti theses who normal logic considers it as a stable and permanent principle. In deed, the manner of Hegel in description of human soul is a correct and direct explanation from romantic view. In this description, he explains how the absolute soul transforms from a higher stage and is unquiet in every stage. This article considers the relation between music and absolute logical Idea. The author tries to examine this relationship by analytical-descriptive method.