amir amiri (mehryad)

Didactic stories have had an undeniable educational role in the context of the wisdom-oriented tradition of the past by telling stories about imaginary heroes; Television and cinema are always the arena of fictional heroes' stories; Heroes who entertain and influence. In this article, using the model of Joseph Campbell's hero's journey, we will search for the name-seeking hero in the story of Golestan Saadi's female fister, in order to find out how wisdom and narration are intertwined in the heart of this ancient story. . In this review, the capacities of this story have been compared with films of the hero's journey genre. The purpose of this review is to emphasize that the narration of didactic texts by a storyteller in cinema and television can, on the one hand, revive the present-day capacities of tradition and, on the other hand, connect the young generation to the cultural sources.

For the first time, Kant proposes the senses as key and central gates for authentic knowledge in the world of reason-based philosophizing and mentions a kind of transcendental knowledge. On the other hand, the actor's body has always had a knowledge-creating and inquisitive presence on the stage or the cinema screen. This article tries to examine the transcendental aspects of the body in the thought of Kant and some thinkers after him with the approach of Heidegger's fundamental question, and through this, to the bodily thinking process of the actor in the world. to pay attention to drama in the light of some philosophical and acting thoughts; Ideas such as Hegel's self-awareness, Brentano's intentionality, Husserl's intuition, as well as the actor's transcendence from Grotevsky's point of view. Therefore, in this article, while presenting parts of the body-centered views after Kant to Heidegger, an attempt has been made to examine the quality of the presence and meaningfulness of the actor's body in these views.