عبدالله امینی

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.

The problem of the limitedness and unlimitedness of language boundaries about the reality of things has a long history. In this perspective, with the assumption of language as a "mirror", the question has always revolved around how language can "represent" things as they are. However, based on his philosophical hermeneutic principles, Gadamer largely overcomes the common distinction between word and thing (even between language and thought) and places the distinction in the language itself and our linguisticality. In this regard, he appeals to the "inner word" implied in the Christian tradition and the expressed word in the philosophical tradition in order to show the limitedness and unlimitedness of language boundaries. In this article, while reviewing some of Gadamer's important insights on language, we try to use a descriptive-analytical method to show how and why he goes beyond the aforementioned distinctions. What are the hermeneutic results of Gadamer assuming the distinction between the inner and the expressed word? We will also show that by assuming the inner word, which we can speak only with "stuttering", Gadamer somehow places his project in the Kantian epistemological tradition. Of course, it has some difficulties.

One of the oldest theories about the nature of art is the theory of "imitation". For the first time, Plato discussed the theoretical foundations of this theory from a philosophical point of view. What is central in the Platonic position regarding the nature of mimesis is the existential distance between the original and the copy. This approach has caused different reactions in the history of philosophy. In the contemporary era, Hans-Georg Gadamer has evaluated the issue of mimesis and the Platonic approach based on his philosophical hermeneutics. Contrary to Plato, he does not place the status of copy in a lower position compared to the original, rather, the copy itself can play the role of the original in terms of "increase in being". Based on this attitude, instead of measuring the copy based on the original, it is the copy that can transform our perspective about the original itself and even ourselves. According to this, the work of art, even if it is a copy of something, can still cause "recognition". In this article, while describing Gadamer's anti-Platonic position on the relationship between the original and the copy, we will evaluate his attitude and show that, despite his emphasis on the independent being of the copy, he sometimes unintentionally returns to the Platonic position.

Dewey's book "Art as Experience", can be considered as a manifesto of pragmatist aesthetics, in which Dewey uses the insights of Darwinian theory of evolution and his pragmatist principles through focusing on the concept of "experience" and aesthetic experience, to bring art back to the everyday life of human beings in today's world. Although, Dewey's view of experience in its general sense, as an interaction between human and his/her environment, has a Darwinian basis, but as Dewey's analysis shows, especially in his describing about the aesthetic experience, the concept of experience goes beyond the Darwinian conception and takes cultural and social dimensions. In this article, meanwhile reviewing the meaning of experience in Dewey's thinking and the relationship between aesthetic experience and the experience in its general sense, we try to show the connection between art and life by relying on Dewey's views in "Art as Experience". In addition, we attempt to demonstrate, most of the examples that Dewey cites as the basis of aesthetic experiences are positive life experiences, and by doing so, he unintentionality ignores negative experiences and reduces the circle of aesthetic experience to pleasant experiences.

The principle of sufficient reason is one of the most significant philosophical principles. Arthur Schopenhauer, the well-known German philosopher, has emphasized on this principle and taken it as the entrance key element to his philosophical system. He tries to characterize the limits and conditions of application of this principle, and to avoid the inappropriate use of this principle outside the phenomenal reality domain. In his philosophical system, this principle governs the relations between phenomena and objects. Furthermore, the mentioned principle is not equal to the principle of causality, but it is more general than that. For the principle of causality is only one of the four forms of the principle of sufficient reason. This paper tries to discuss the content, application domain and importance of this principle in Schopenhauer ׳s philosophy.

Arthur Schopenhauer, the German idealist, is well-known for his atheism, pessimism, misogyny and fluent style. Additionally, the notion of the genius is significant in his thought. It is important to discuss the notion within Schopenhauer's whole system, because it can not be well grasped without fully understanding his system. The main purpose of this paper is to show briefly the genius ׳s position and its relation to art and artist in Schopenhauer ׳s thought. Finally, it will be noticed that some of Schopenhauer ׳s ideas on the relationship between the genius and the artist are controversial.