جستجوی مقالات مرتبط با کلیدواژه "individuality" در نشریات گروه "علوم انسانی"

The central focus of this article is to explore how human autonomy and freedom are shaped using the principles and approaches of Christianity during the early modern period in Europe. The research adopts a historical and foundational methodology. Christianity, as interpreted in a particular way within modern philosophy, emerges as a religion of individuality, freedom, and the liberation of humans from external authority. Descartes' philosophy, in a sense, shares this central theme of freedom with Christianity. He is among the first figures in Western intellectual history to take significant steps toward liberating humanity from external authority. Descartes’ epistemological theory paves the way for greater human freedom and independence by positioning reason as autonomous and self-legislating, reliant solely on its own principles and acknowledging no authority higher than itself. With this approach, Christianity plays a crucial role in shaping Descartes' way of thinking. However, for Christianity to serve as the foundation for all modern transformations, it needed a theologian like Thomas Aquinas, who could bridge the sacred Christian principles with the secular outlook of the modern world. This article examines the relationship between Christianity, the philosophical revolution of Thomas Aquinas, and Descartes' philosophy of freedom.

Esfandiar in Shahnameh is one of the important figures in the mythical and epic history of Iran. The complexity of his character has provided a suitable ground for interpretation and theorizing surrounding this character, his actions and behavior. In this article, attempt is made to use Jung's theories to examine Esfandiar's Haft-Khan and the controversy of "individuality" in his character. It is known that the use of new analytical theories in the study of epic texts can open new horizons for researchers. One important point in Esfandiar's heroic life is the concept of "Haft- Khan"which has been followed by various analysis. Researches carried out on this subject, relying on Jung's theories in comparison with "Rostam’s Haft-Khan" mostly refer to one point and that is Esfandiar, like the superhero of Iranian myths, was able to achieve "individuality" and perfection by passing through the Haft-Khan. However the stage of the return of this hero from the Haft-Khan, and especially his important and influential actions in the last stages of his life, proves contrary to the results of recent research. It is shown in this article that the process of individuality and perfection is not achieved by him due to Esfandiar's unification with the archetype of "Persona" and the domination of "shadow" over his personality. And just passing the Haft-Khan does not quality him to prove his individuality.

The play "Jafar Khan az Farang Amadeh" written by Hassan Moghadam is one of the most important and influential plays of its own historical period. The present paper intends to investigate the process of meaning-construction in this text through focusing on socio-cultural variables and by using socio- semiotic appraoch and the theory of Guiraud. Tho main questions that the research seeks to answer are: 1. what are the most obvious social signs that can be discovered and explained in this play? and 2. What are the semantic implications of these social signs? The results indicate that the most obvious signs related to identity are names, nicknames, clothes, objects, and animals. The author has shown Jafar Khan's confrontation with his family members who are influenced by the collectivism of traditional society while highlighting his individuality by using these signs. The most obvious signs of social etiquette are the tone of speech, the distance between people, and insults. The endless efforts of the family members to be close to Jafar Khan and his resistance to keeping a distance from them are evident in these three signs of social etiquette. It can be concluded that the social signs of this play significantly contribute to shaping the semantic framework of the work, depicting traditional and modern human attitudes and life.

Consumption and cultural consumption are among the important phenomena of contemporary society that affect different aspects of people's lives. Many experts consider cultural consumption and consumption to be influenced by and representative of social class. Some studies, especially in the modern world, in addition to class, have considered individual characteristics and individuality to be important determinants of consumption and cultural consumption. The purpose of this research is to examine the amount and type of cultural consumption of citizens of Tehran and the factors affecting it, emphasizing the two above approaches.

The method of this study was a survey, and the data collection instrument was a questionnaire.

The results show that individual characteristics, individuality, and class of people are related to the amount and type of cultural consumption; however, their relationship is different in various cultural goods. In general, these factors have multiple correlations with cultural consumption (R = 0.688) and can explain (R2 = 0.461) the changes in cultural consumption. Most of the weight belongs to cultural tendencies, modern-traditional, and then class variables.

The regression equation confirms the theoretical insight of the paper, which claims that cultural consumption is simultaneously influenced by individual characteristics, individuality, and class of individuals.

Kierkegaard’s aim was to understand Christianity and act according to it. To reach this aim, he first rejects official Christianity and then explains his version of Christianity, that is, the genuine one. Official Christianity has shown itself in the form of academic Christianity and ecclesiastical one. The academic Christianity, whose leading figure is Hegel, on the one hand tries to prove the Christian doctrines with rational arguments and make Christianity reasonable, and on the other hand seeks to justify Christianity with the help of historical evidences. The ecclesiastical Christianity, on the one hand, has a collectivist approach towards Christianity and therefore sacrifices the Christian individual, and on the other hand, transforms Christianity into a social institution and by reducing it to some rites and rituals tries to simplify Christianity. But genuine Christianity walks in an absolutely different way. It rejects reason, collectivism and simplification and puts emphasize on faith, individuality, suffering and passion.

In Ibn Arabichr('39')s mystical ontology, the truth of existence is unique to the divine essence. In this view, the universe is the shadow of truth; Just as the existence of a shadow is credible and dependent on the person, so the universe is in its essence nothing but a manifestation of the transcendent truth of existence. On the other hand, the concept of shadow in the Jungian school is also a key and important concept. Jung tries to explain the human psychological system by relying on the principle of archetypes in his school of psychoanalysis. Although in the school of Ibn Arabi and Jung, the shadow is a single phrase, but it has a double meaning. In Ibn Arabichr('39')s theory, the shadow has no inherent independence from the person, but in Jungian psychoanalysis, the shadow is one of the archetypes that must be known in order to achieve integrity and integrity. Recognition of the shadow strengthens the individual and brings personality cohesion and integrity. Unlike Mohi-ud-Din mysticism, in which the world, which is the shadow of the Almighty and merely the "manifestation" and appearance of truth, the shadow in the Jungian school is the hidden and dark part of the personality and the part of the "was" which requires concealment, darkness and secrecy. And in the process of self-knowledge must be known. This article tries to study the concept of shadow in these two schools comparatively and analytically and explores the relationship between self-knowledge in Jungchr('39')s perspective and cosmology in Mohi al-Dinichr('39')s perspective. And given the unity of the world and the psyche in the Jungian school, will knowing the shadow lead one to monotheism and oneness, as intended in mystical cosmology?

The purpose of this article is to examine the transformation of two generations in accepting or rejecting change. Drawing upon Gilles Deleuze's definitions of "becoming", this study aims to explore the difference between the characters in the novel Things Fall Apart, written by Chinua Achebe,  in their susceptibility to change and the adaptation of generations in the face of fundamental individual and identity changes. Achebe’s novel has researched the entire campaign of conflict and confrontation between two generations in accepting or rejecting change, and why and how the change is possible in a highly traditional and colonized land.  Gilles Deleuze is one of the most important contemporary post-structuralist philosophers whose ideas represent the removal of any structure and centrality. Deleuze considers "becoming" as a revolution that leads man to a new life and new way of thinking. Therefore, according to the nature of the novel and the atmosphere of confrontation and conflict that governs its characters, as well as Deleuze's reading of it, the two approaches of no change or individualism are in conflict with the acceptance of change or deterritorialization. The approach of individuality destroys any kind of hierarchy and does not accept the existence of any supreme principle to explain existence. In contrast, deterritorialization considers existence as an unknown structure that needs to be discovered.

If we look at the characters of Hafiz's divan from the field of psychology, the presence of archetypes, especially "anima" can be seen in them. At the beginning of the lyricss shown by Anima, the beloved is usually earthly and the lyrics is romantic, and as we approach the final verses, a spiritual and spiritual sense prevails over the verses, and the beloved finds heavenly effects. In 26th lyrics (He is agitated and smiling and has a drunken smile....) It also has such a characteristic while the cause of these fluctuations and changes in the transformation of the archetype of anima to the archetype of the wise old man as well as the self-scrutiny and individuality of the poet and the whole lyrics narrates the process of this transition. The use of analytical psychology interpretation in the lyrics in question opens a window to the commentator's point of view and equips him to look deeper than traditional interpretations into the poet's poems and the fundamental and strong connection in the vertical axis of speech that in Understand the dust of conscious prejudices of the covered mind, while this inner attitude is also a suitable vehicle for mystical interpretations of Hafiz's Lyrics in question.

imagery can be considered as one of the main aesthetic elements in poetry; in the poery part of the rhetoric and influnce  is depend to the imagery; The novelty of the image and reflection of the individual attitude in it, cause a double impact and attraction; Because the essence of art is deeply linked with innovation, and these innovations in the macro structure of poetry,likned to innovation in micro structure and imagery one of this micro structures. Iranian modern poery with Inspired by Nima's progressive theories that emphasized personal view and individualism,and with a this has discovered unknown areas of the imagery, and have a general tendency towards innovation in poetic images. Shivan Foumani can be considered one of the honest poets to Nima's theories in imagery innovation; Climatic color is also prevalent in Shivan's poetry with an emphasis on individualism and personal experiences, and he has created new and individual images of nature with this personal attitude. Also, his detail and precision look, that is remember the thin imaginative of Indian style poets, has been another factor in his imagery innovation. Individualism is also seen in the image of the beloved in his poetry, and the aesthetic aspects of the beloved are presented in his poetry differently from traditional poetry and with a personal attitude. The present study intends to explore these aspects of imagery innovation in Shivan's poetry in a descriptive-analytical method. The result of the research also shows Shivan's loyalty to the principle of imagery innovation.

One of the archetypes that exists in many lyrical fictions is the archetype of the Rescue of man by woman. Signs of this archetypal state can be seen both in the narratives in which the protagonist is a male character (hero) and in the narrations in which the heroine is the main character. In this archetype, the heroine assists the male character and saves him from death or helplessness. In this study, this archetype is investigated in the lyrical poetic narrations of "Zal and Rudabeh", "Bijan and Manijeh", "Kheyr and the Shepherd's Daughter", "Legend of the heavenly green-dress for Bahram-e- Gour", "Joseph and Zulaikha" and "Jam And Gol" And its data have been critiqued with an archetypal critique approach and written in a descriptive-analytical method. The results obtained show that In addition to the archetype of the Rescue of man by woman in ancient stories, it also exists in many contemporary lyrical texts and some of the narrations is formed on this archetype. love at first sight, violation of taboo, daimonic, The hero's (heroine's) journey and attainment of individuality are the main components of the archetype of the Rescue of man by women which exist in the narrations affected by this archetypal situation.

Jung considers psychoanalysis as archeology of human consciousness. On this basis, the term "archetype", which underlies the theory of the process of individuation, is derived from a combination of the terms archeology and typology. Individuation is the archetype of psychological development which is involuntary, gradual, regular and strong. It consists of a chain of archetypes such as shadow, persona, wise old man, anima. The goal of the process of individuation is the conscious integration of the components of this archetypal chain in the form of a single archetype called "self". Jung's psycho-mythological analysis is based on the discovery and interpretation of archetypes, and in the present research, we use this method of analysis to recognize and interpret archetypes related to the process of individuation in the story The horn that got Croup, written by Hamed Habibi and illustrated by Alireza Goldooziyan. We are also looking for an answer to the question of how the archetypes of psychological development are represented in the text and images of the story. The innovation of the research is that it examines the theory of individuation in a text composed of text and image. In other words, it considers the interaction of archetypes related to individuation in the verbal and visual text. The results show that the pattern of identification in such stories is the reproduction of the archetype of individuality.

Marriage patterns are vary in each society according to social, economic and cultural conditions. This research was conducted with the aim of analyzing the pattern of marriage of young people in Tehran.

This research has been done in analyzing the pattern of youth marriage in Tehran with a qualitative method of grounded theory 28 participants were selected by purposive sampling and data were collected by semi-structured interviews

The perspective on marriage and its factors, the role of family, relatives, ceremonies and traditions, dating before marriage, appropriate age, the method of choosing a spouse and their strategy were the focus of the questions and after three stages of open, central and selective coding of the textual data, 138 concepts, respectively, 28 subcategories and 13 categories and the main theme of "finding individuality" were obtained.Delayed marriage, self-centered matching and domineering family, reductionist traditionalism and especially in boys, the desire to be friends with the opposite sex, sexual convenience, sometimes the tendency to informal marriage (temporary marriage, domestic partner) are seen as strategies.

Economic and livelihood facilities, attitude, value and action relationships between the two sexes are the main elements of the formation of this pattern.

This article tries to study the Iranian subject's attempt to represent / construct her/his individuality in cyberspace. For doing so, in order to interpret the birth and development of Iranian subject, we have first introduced a brief description of the emergence of modern subject and its conceptual and concrete transformation, especially in late modernity; then we have analyzed the different dimensions of this embodied self-actualization by way of semiotic interpretation of images in virtual space. The findings showed that Iranian subject, in attempting to pursue the project of self-actualization in this era, has exactly encountered the same risks, ambivalences and contractions that have made his everyday life interrupted, conflicting and contradictory. Although this subject has achieved a variety of options to choose in the sphere of everyday life, but has lost his ability to self-actualization in the face of rituals and big other. The sterilization of everyday life in the real world in Iran and the attempt of individuals to revive it in virtual space has caused a life form in which interrupted subjects are born.

The lover is the manifestation of anime in lyrical literature, especially sonnets. Its terrestrial image is a representation of the heterosexual element of bisexual man, and its celestial appearance corresponds to gods and goddesses, i.e. saturated image of a strange creature that is transcendental, primal, eternal, and God-like, with infinite beauty and kindness, being a nurse and a collection of all goodness. It subconsciously adapts to a mixture of aesthetic criteria of all eras and all human races. Anima is one of the most fundamental archetypes of Jung's collective unconscious, playing a fundamental role in the development of male personality, the feminine half in men, which because of the patriarchal system’s considerations is generally repressed, prevented from expressing themselves, unaware that everything we suppress is not extinguished but, rather, erupts with more energy from the subconscious at an inappropriate time and form. To prevent anima’s eruption, a man needs to learn how to strive in relation to the female half and have it engaged in a life of self-awareness, so that he can enjoy its gifts for its flourishing and transcendence. The present research employs a descriptive-analytical and statistical method to study the correspondence of "anima" archetype on the sonnets of Houshang Ebtehaj that were in harmony and capable of interpreting anime. The extent of his success is directly related to his efforts to identify the feminine element of the psyche. But it seems that the poet has not been successful in a stable relationship with the female element. While in the majority of his sonnets he has overcome the negative anime, in some of the others he has more or less gone through the unevenness of individuality..

As Kierkegaard has explained, humankind’s pain is recognized with its individuality. But, what happens for the pain during a prevalent disaster, and what changes does it go through? Is generality of a disaster can always help anyone to endure the pain? Does the generality leave any room for help to those who are all affected? Is there no difference among all kinds of pains in terms of their requirements for enduring or overcoming the individual pain? Such questions lead us to reconsider the relationship between the individuality of pain and the generality of calamity based on Kierkegaard’s meditations, especially because he himself did not engage this issue exactly. In his book, Sickness unto death, signed by a pseudonym called Anti-Climacus, as a representative of a special existential condition, he take a look on the meaning of pain that is deeply related to concept of despair, which is the basis of our analysis. In this article, by using an approach we call it as “Anti-Climacian”, we conclude that the individuality of pain in the context of a general disaster may prevent the alone person form pursuing a three-staged dialectical movement to set free from despair

Existentialism is one of the central concepts of Nietzsche's thought, which is clearly reflected in contemporary poetry, especially in Shamloo’s. Prominent examples of it, including the primacy of existence over nature, commitment and responsibility, individuality, the exaggeration of life as well as the world, death and demise, freedom, apprehension and anxiety, loneliness and solitude in Shamloo's poetry are fully represented by the artist. The present research which is done by descriptive – analytical method, studies the relationship between literature and other branches of the humanities based on the comments of American School of Comparative Literature. It seeks to answer the question: how existentialism thoughts were developed in Shamloo’s mind and language and what was his thought and philosophy of existence focused on? The main purpose of the present article is explaining and drawing existentialism in Shamloo’s poetry according to Nietzsche's views. Findings of the research show that Shamloo has had a deep connection with existentialism topics and thoughts, and existential concepts and concerns have been reflected in his poems in a contemplative and very high frequency. These concepts intersect with Nietzsche's existentialism views.

Saghinameh (and Moghani-name) is one of the most independent forms of official literature dating back to the 8th century of Higra, and independent poetry after this period, often written in the form of Masnavi and Motaghareb, in which the poet with images vinos expresses exaggerations such as frustration, wind, writing, and pleasure, passing through the life of life, and protesting the popular tradition of society. In this research, firstly, the roots and causes of the birth of the storyteller as a literary form, from among the types and suppressions are considered, then the used signs and their message through the comparison with Likewise, the narrators will be criticized (vinos poem, qasida, Ghazal, poems of Khayyam). In the following, we will analyze the artistic expression of this kind of literature and the social necessity and psychology of its compilation, and ultimately the content of the essay will be reviewed. The result of the work indicates that the basic storytelling is one of the anti-epics and poetry types created by the wise poet and philosopher's mind, and the cupbearer (harpist) and wine (music) and the time and I, the poet, are the most important signs that, through the expression of a minimalist, opposed, articulation with a one-way dialogue tool, challenge the existing attitude to the nature and nature of man and the universe.

In this article, we analyze the basic role of finitude in Heidegger and Foucault’s philosophy. We argue that finitude makes possible Heidegger’s concept of being and the history of being as well as Foucault’s concept of the modernity and the entire history of western thinking in later Foucault. To accomplish this objective, we conduct the following: We analyze the basic finitude in Heidegger’s ontology; We explain “analytic of finitude” in early Foucault’s work namely the birth of the clinic and the order of things; We describe Foucault’s interpretation of Heidegger’s formulation of finitude; We specify the place of partial and relative nothingness in Heidegger and Foucault’s approach to human finitude; We explain that individuality, resistance, truth and historicity are possible by finitude in philosophy of them; And finally, we analyze how Foucault meets Heidegger in passing epistemological understanding of finitude and arriving at practical understanding of self-finitude and outlining the history of being.