Locality is a feature that shows dependence on a place. The principles of attitude towards the place and location of any building are related to four characteristics, including figure and image, order, identity and memory, which originate from mental-internal and physical-external impressions. Emphasizing the phenomenological approach, the current research seeks to reread the principles of location in historical buildings and find the relationship between physical and perceptual factors with the attitude of place in buildings, which was carried out using a mixed (qualitative-quantitative) research method. The statistical population of the research includes 1- historical monuments and 2- experts, thinkers and specialists. The statistical sample of the first group includes two historical buildings in Tehran (Sahibqraniyeh Palace) and (Firdous Garden) and the second group includes 20 experts, thinkers and experts who are experienced and knowledgeable about the subject of the research. Analysis of documentary data and field observations has been done using SPSS software. The physical indicators obtained from the theoretical findings include "materials", "form and proportions", "color", "lighting" and "natural elements", which were prioritized based on a survey among the statistical community through AHP test and using Expert Choice software. The results of the measurement of the indicators studied in the two historical monuments of Sahibqraniyeh Palace and Ferdous Garden show that there is no significant relationship between any of these indicators, and among the physical indicators, the index of "natural elements (plants and water)" has the highest percentage of influence on the perception of the building. The results of this research show that the principle of identity through physical indicators in buildings such as form and proportions, lighting along with the principle of figure and image through physical indicators (materials, color and proportions) have caused audience perceptions of these buildings. Therefore, by restoring these two important principles, the placement of buildings can be improved.

This research aims to explain the issue of "God's spatiality", and by examining Imami and Salafi traditions, it seeks to find the answer to the questions: What do the Salafi traditions prove in this regard? And how did the Imams of Ahl al-Bayt (AS) react to them? Using the descriptive approach i.e. explaining and analyzing the traditions and views of Salafi scholars and comparing them with the traditions of Shiite Imams, the article concludes that the traditions accepted by Salafis generally prove God's spatiality and ultimately end up with incarnation and anthropomorphism. But the Imams of Ahl al-Bayt (AS) have always criticized and rejected these traditions. However, there are some traditions in Shiite sources that Salafis have used to confirm their own views. Yet, they are either weak in terms of narration transmission or unreliable for Salafis in terms of connotation and meaning. This is because, according to the intellectual basis of the Shiite Imams regarding the necessity of allegorical interpretation of texts, all of them are taken as figurative, metaphorical, and ironic meanings, just like the verses of narrative attributes. Consequently, this criterion is also obtained that any narration in the Imami sources that agrees with the Salafi view on God's spatiality, is not valid and cannot support the Salafis' point of view.

Architectural perception of the location of historic mosques as a platform for the organization of interaction and perception of human comfort can eliminate the feeling of loneliness, sadness, and grief of the pilgrim and consequently reveals the historical, identity, and cultural values ​​of mosques. This study aims to explain the principles of attitude to place in the Tarikhaneh mosque of Damghan based on physical elements. The hypothesis to achieve this goal is that there is a direct relationship between the principles of attitude and the location of the Tarikhaneh mosque of Damghan through physical elements. Therefore, the present study, using a qualitative research method, combined solution and data collection method in the form of library and field studies, concluded that in the Tarikhaneh mosque of Damghan. Principles of attitude to place through physical elements are the main architectural principles that have occurred in this mosque, and the location of this mosque has added to the concept of place attitude. Therefore, to manifest the concept of the principles of attitude to place and its perception, it can be said that the physical elements, geometry, proportions, light, and decoration are the central architecture of this mosque. In addition, the identity of this mosque on the induction and expression of the concept of "place attitude" due to the use and antiquity of the building has been used with eco-friendly materials, and the index element of the minaret is well represented. The Tarikhaneh mosque of Damghan has been a symbolic building with traditional features, including the cover of the song arch and the percussion arch and eco-friendly brick materials, and thus cause and evoke memories of the past, a sense of spatial identity, and deep experience in the audience.

The point of the research is to classify Heidegger's concepts in Being and Time about Spatiality and temporality and hence description of the salesman film with an emphasis on the characters according to this. Temporality and spatiality Emphasizing on existential space, affection of Dasein, self-relation, relationship with others, the ontological question of Dasein, are some of Heidegger's emphasized components that help explain the types of times and places and their states. two central concepts chosen are temporality and spatiality, which are determined by the type of beings and their existence. Dasein has three ex-istences, and based on the coordinate lines and expectations of Dasman, is thrown out without decision. Dasein deals with his ontological question in anxiety. The types of Temporality, spatiality are categorized and correlated with Dasein`s affection. Salesman by Asghar Farhadi's shows that the old salesman and abandoned house is the agent are the cause of uncertainty and disaster or the disintegration of the whole world In the salesman. It is Dasein's affection that makes distinguished kinds of relationships. In order to answer the ontological question, to who he is, Emad searches to find old salesman. In fact searching the saleman is along to the searching himself. Beacause Emad has lost the possible relations of the world in everyday life. I think the home has an important role in this film. the first and second home has stark impression on forming the Emad and even Raana`s onthological question . At the end of the film, the abandoned house becomes the scene of revenge and the death of the salesman. In the scene of the revenge, Emad shows us a new image but unfamiliar. he creates a distance-based spatiality at the same time based on denying Raana`s Plea. In addition to, he forms to the existential space. The space which is full of existential preoccupation, like confrontation the onthological question, indifference to the everyday`s possibilities. Temporality and spatiality relies on existential space. Dasein`s disposedness, auto-affection, the ontological question of Dasein are other effective quasi-causes. The results show the old salesman and the home are the causes of the disarticulation of the whole world of Emad and Raana. It is emad`s disposedness means anger or hate and the related actions mean “revenge” that determine the type of time and space. In order to answer to »who I am«, Emad starts to researche about the identity of the old salesman who takes on his role in the play. the abandoned house and the old salesman disrupts the present and place of things. it makes them transmitted to the past and position-space. at last, Rape makes enterance to the world of Emad and Rana, the problem of ground and earth, It creates a strife. In the strife the opponent raise each other into self-assertion of their natures. Capitalism, with the utmost planning to control spaces and dominate the existential space, with its products and mechanisms, disrupts the chain of different relations and makes the different affections or disposednesses, which according to this research lead to the formation of the existential space.

Studying real as well as imagery spatiality of family roles and image of them for family members should be put among first steps of any architectural design program that aims to achieve in stabilizing of family pattern of a certain culture. Its importance is more obvious for those cultures which want to save family structure as their basis of existence and growth. A literature review of current socio-spatial studies of home in the first part of the article has shown a kind of ignorance or even opposition towards main family roles (i.e. fatherhood, motherhood, spouse), so such studies are mainly organized around dialectic relationship among two genders and home is considered as central point of the conflict. Feminists’ theoretical positions are clearly dominant here, although it could not be forgotten that leftist basis of social sciences has its overwhelming impact on any study of this kind. So it may be clear that for an Islamic society as Iran such a research gap of family-based study of home is highly required to maintain and improve its preferred social pattern based on family relations. The current research is arranged towards such a goal via quantitative as well as qualitative study of spatiality of father’s presence at home. Because there were no previous study of the subject, at first some usual behaviors of father role in Iranian society (positive or negative ones) were selected and put on examination via a questionnaire designed to measure spatiality of fathers’ image among the youths (the cases were taken from Tabriz for consistency). Target behaviors of the questionnaire fill an spectrum from individual presence of father at home to family actions with his contribution and finally covers his presence in wider collections at home (i.e. parties). These are arranged in four categories: one person actions, two-person interactions, family interactions and family-stranger (guest) interactions. For every category 4 to 11 presence- behavior patterns are identified that their relation with images of father are quantitatively explored. Then the main features emerged from quantitative study were put in more detailed study using four open email interview. The four of respondents selected were asked to describe about those patterns and send some pictures of the place of father in those positions at their home. ‘Family-biased’ and ‘rituality’ are two main labels of fathers’ images emerged from quantitative research. These findings are clearly in opposition with dialectic discussion of current literature of home (male-female ones). ‘Father’ in his individual presence and signs of such presence have been far less memorable than his being in family or guest spaces. This fact is far strengthened in results of qualitative enquiry where ritual as well as custodial roles of father in his spatiality in family are emphasized. His presence at main corners of collective spaces of home and important angles of family gatherings are main elements of spatiality of fathers’ image. Results of this research open some ways towards understanding of father-home relation and can provide some basics for interior design oriented to family behaviors.

One way to verify the authenticity of narrations is to discover pieces of evidence in hadiths that confirm the content of a narration. Meanwhile, the narrations that indicate a common theme are more valid than other narrations. Investigating the content of the monotheistic sermons of Nahj al-Balaghah and comparing them with the monotheistic narrations of Imam Reza (A.S.) recorded in Uyoun Akhbar Al-Ridha, indicates many similarities regarding monotheistic themes. Some of these themes include rejecting God and creatures' likeness, denying the illusion of God, rejecting the physicality, locality, and visibility of God and emphasizing the invisibility, eternity, and simplicity of God. These common themes become more important when one pays attention to the time interval between the period of Amir al-Mo'menin Ali (A.S.) and Imam Reza (A.S.), approaches in the hadith and theological school of Qom by the author of Uyoun Akhbar Al-Ridha, and hadith school of Baghdad where Sayyid Razi, the author of Nahj al-Balaghah, lived there.

In this article, we try to show that Maurice Merleau-Ponty, as the patron saint of the body, offers a phenomenological analysis of the body that is neither psychological nor rational, but existential in nature. Influenced by Heidegger's philosophy, Merleau-Ponty presents an existential analysis of man and his corporeality as the corporeal subject relates to the world. In this article, focusing on concepts such as location, body schema, flesh, absent body, and body perspective, we show that Merleau-Ponty's phenomenological analysis of these existential concepts has important role in understanding of the lived-body. Merleau-Ponty, by criticizing Descartes' body and abandoning his duality of soul and body, turns to the existential union of the two in the form of a bodily subject, showing that human existence can be understood through this bodily. He contrasts this analysis with philosophical analyzes, including Cartesian philosophy, in which he believes that sensory perception and the body as the foundation of human consciousness play an important role in his pre-reflective understanding of himself and the world.

The complexity of the issue of the practical narrative attributes of God has led to the emergence of different views and thoughts among Muslim theologians. In this article, we tried to investigate the thought of Abu Mansur Maturidi using library sources and descriptive-analytical method. For this purpose, we analyzed two definitive works left by him and also the thoughts of the followers of the Maturidi School on semantics. Maturidi and his followers consider clinging to the apparent meaning of the practical narrative attributes to be rationally rejected. They also believe that the physical interpretation of such attributes requires imperfection and need for God, limitations in the divine essence, spatiality for God, and incompatibility with the absolute existence, mere existence, and simplicity of God. They deem the practical narrative attributes as Quranic ambiguous concepts having figurative usages, and to prove the idea of allegorical interpretation, they give reasons such as the absence of contradictions in the Divine Book, the usage of metaphor in the Quran, and the negation of physical interpretation of the verses containing the practical narrative attributes. The hadiths narrated in this regard also have weaknesses and anxiety in terms of the chain of transmission and content, and on the assumption of their authenticity, they are considered to be single hadiths, which do not have authority to prove doctrinal issues, and in case of not being single, they are interpreted allegorically.

Nazim Hikmet (1901-1963), Turkish poet and a true believer of Marxism, spent 12 years of his life in prison and nearly 20 years in exile, an experience that profoundly changed his perception of space and influenced the horizon structure of his literary work. As Michel Collot explains, horizon structure considers the phenomenological idea of “existence-in the world” and seeks the life character or subject matter in the literary work; the character as an existent which is always placed (positioned) in a certain location, from where it evokes the world. This method assumes that each statement is built from three components: World, Language and Me. With regards to Nazim Hikmet and his horizon structure, we will see how the break in the perception of the prisoner from space is visible in his poetry. This study will examine the traces of this rupture in the structure of the poetry of Hikmet. How does its spatial descriptions differ from others in the literature in which his poems are rooted? And how does he reconcile this terminology of space with Marxist tendencies as a universal human being? These are the questions we will try to answer. Next we will try to draw the structure of horizon in the poetry of this poet.