جستجوی مقالات مرتبط با کلیدواژه « نبوغ » در نشریات گروه « فلسفه و کلام »

The discussion of the miracles of the prophets is one of the important theological topics that has been receiving the attention of Imamiyya theologians for a long time. There are different views on this matter. This article seeks to explain the miracles of the Prophets from the perspective of Abdul Razzaq Lahiji and Mulla Sadra. express them in this regard. Qur'an's proofs are based on verses such as: 248 Surah Baqarah, 10 Surah Abrahimi, verse 37 of Enam. It has been cited, the difference between Sahar and Miracles and the objectives of the prophets' miracles have been examined from the point of view of Allameh Lahiji and Mulla Sadra, and the reasons for each It has been presented in this regard and some verses of the Quran have been cited to explain this issue.

Schelling's goal is to find a total consciousness for human; therefore, in the philosophy of nature, he tries to reach from the real to the ideal. On the other hand, the conscious spirit is a product of human subjectivity, so, an unconscious spirit manages things. Therefore, Schelling's transition from natural philosophy to the system of transcendental idealism occurs. Reaching this level of consciousness is possible when [I] goes through different stages. The first stage is sensation, then reflection and after that comes praxis. But since the will of the subject of and the will of nature are the same, and ethics is in the realm of practical reason, then the subject of action does not have free will. Therefore, there is a gap between theoretical philosophy and practical philosophy that Schelling must somehow fill. He solves this problem with the free and creative will of an artist, a will that acts not out of necessity but freely. Schelling reaches the absolute from the identity of natural philosophy and transcendental idealism. The absolute is the result of identity of the real and the ideal. It is crystal clear that expounding how to objectify the absolute leads to a better comprehension of Schelling's philosophical system. In this article, it is investigated that among theoretical wisdom, practical wisdom and art, which one Schelling deems the most functional mechanism to objectify the absolute, and what are the roles of genius and the beauty through this path.

We argue in this paper on art as the fine art in architectonic of system of Kant's philosophy. Here be shown that Kant had unitary image from his architectonic of system of philosophy as unitary statue. He thought the unitary statue as a whole. Therefore, his critical thought is metaphysics. Kant passed traditional metaphysics and he disclosed subjectivity that is ground of critical metaphysics and it rises from critical reason. All of elements of his philosophy is based on the ground. on the other hand, in modern time art be realized as fine art; Since art before modern time includes sense of more general it. Thus, it had functional, educative, cognitive role and for understanding this attitude from philosophical view we need to back to Kant. Therefore, be shown that fine art as product of genius in modern time and in Kant's thought is based on subjectivity as its condition of possibility.

Art by making ideas sensuous brings our conscious ideas into harmony with what is given to us unconsciously by nature. For Schelling, aesthetic intuition is the real expression of reason; it objectively produces what philosophy can only address ideally through intellectual intuition, thus art is the eternal organ of philosophy. The production of the artwork, which comes about through the work of genius, begins by the free conscious act, brings the identity of freedom and necessity, and ends in objective unconsciousness act of artwork. In the work of art, there is an identity between freedom and the necessity and also between subject and object; what brings harmony in the artwork  between the free conscious act and the objective unconscious act is the absolute, which initiates philosophy. By showing the inadequacy of practical reason, which is based on the division between subject and object, Schelling deviates from Fichte’s transcendental idealism. So the philosophy of art must be considered as a subversion of Fichte’s focus on practical reason, where Fichte grounds his system in the self’ s free activity, Schelling now argues that the true realization of human activity is in the work of art, which is objectively produced. This essay examines the position of genius in art product, by explaining the relation between the conscious act and the unconscious act and demonstrating the identity of the two in the production that is called the highest expression of nature. Therefore, with a focus on demounting the subversion of practical philosophy, the aim is to show how the absolute is objectified in the work of art, which is achieved through genius and aesthetic intuition.

Imam Khomeini and Allameh Jafari are two contemporary Islamic philosophers who have similarities and disagreements about beauty and art. The views of Imam are subject to the principles of transcendent philosophy and, in some cases, are in accordance with the foundations of their theoretical mysticism, which considers beauty as existence of Principiality and intensification and Like Hafez and Sa'adi, he extends the scope of art to all beings and even human actions and moral virtues. But Allameh's views are oriented toward Western philosophy in the first due to the attention to the subjective mindset in aesthetics and the second to Monopoly of art in fine arts. Allameh used the transcendent philosophy in explaining how the perceptions and criteria of aestheticians' judgment were used But this criterion seems to be effective only for intelligible beauties Therefore, in this research, based on the opinions of Imam Khomeini, the view of Allameh is criticized in formal and extra intellectual beauties. Another topic of this research is the division of art from Allama's point of view, which is one of the new issues in Islamic aesthetics, which can not

The epistemological discussions are directed to identify human’s mental abilities in modern time. Kant’s description and explanation on the cognitive and ethical judgments is completed with the description of the cognitive faculties including sense, imagination, understanding and reason. But the mental abilities of human aren’t limited to understanding and reason. Kant says from genius and taste in the third critique. In the paper is studied and evaluated Kant’s works and their interpretations in order to achieve an acceptable result about relationship between taste and genius by emphasis on aesthetic experience in formalistic approach. In this approach, the subject and object are involved in the production and perception of the artworks. Taste is essential in the perceiving and judging of the artworks, that is, it strengthen objectivity, and genius is essential in their production, that is, it strengthen subjectivity. In the other words, taste is for the selection and genius is for the change of a thing. This reminds the fundamental assumption that sensory experiences without conceptions are blind and conceptions without sensory experience are empty. Accordingly they are co-event in evolutionary process in the social and cultural context. The method of the research is analysis of the data derived from library study Kant’s works and his commentators.

What is reincarnation and what are its different forms? Is it real or is it suppositional and not only it has not took place, it isn’t possible as well; in every case what is its relation with resurrection and the eternal world hereafter? This question strikes the minds of many people who see themselves between reincarnation and resurrection. I will try to study – with the help of God - the essence of reincarnation, in this article, and its different types and the reasons presented by the believers of reincarnation and some of the criticisms of the main idea and of its proofs; and then will investigate its relation with resurrection. I have used rational and experimental methods in this research. The result of this research is that it denies all the forms of worldly (molki) reincarnation; inability of the theory of reincarnation to ensure the outputs of resurrection, incompatibility of the absolute and infinite worldly reincarnation and the hereafter; and incompatibility of limited worldly reincarnation with resurrection of the body.

Kant in Critique of Judgment tries to introduce aesthetical judgment as a product of reflective judgment، and he، in the First Critique، separates it from the cognitive judgments of understanding، but in the Second Critique، from the ethical judgments of reason. Because the Third Critique must fill the gap between those two، and thus enable communication between two realms of philosophy، it has to establish a relation between faculties of understanding، reason، and imagination in an aesthetical and a teleological reflective. This paper، introducing the general principles governing on aesthetical reflective judgment and the free play of imagination and understanding for abstraction of pure and final form of objects، wants to justify the relation between imagination and reason in the beauty of art and its two parts، i. e.، the mechanical arts، and fine art.

With the claim of defending women's rights in western civilization and using its principles and foundations, feminism entered into socio-political thoughts trying to make women participate and play significant role in different domains of social life. Having reanalyzed the factors which have made women inferior, it struggles to remove them. With such an aim, it reviewed and analyzed the history of art and aesthetics. Feminists mainly focus on the analysis of cultural life with respect to sexual difference between male and female. They pose the main question: "Why do women have no status in arts?" They believe that history of art and aesthetics has never recognized women's art and emphasized on neglecting women's artistic creativity by promoting special thoughts and adopting particular policies. Instead, it has caused women's inferiority by identifying their body as the theme of artistic production. In order to confront male–oriented history of art, feminists have used different strategies to create artistic works and have prepared the ground for women's more presence in different artistic fields by criticizing traditional philosophy and history of art. However, since feministic art has neglected woman's real personality, has been unrealistic, and has gone to extremes in providing strategies, it has not only been of no help to reduce women's oppression but also has paved the way for other kinds of oppression.