Eduard Hanslick, the first formalist thinker in music criticism, believed that music is the moving forms of tones. He argues that music is nothing but a form without any content or theme outside of its form. Therefore, music cannot express the feeling that comes from the outside, but if there is a feeling, it is the result of the forms and the structure of the music itself. The difference between music and other arts is that it cannot represent reality. Therefore, aesthetic judgment on music should be thoughtful and based on reflection rather than feeling. The content of music cannot be conceptual and the beauty of music is not objective. We can find these concepts by Hanslick in Immanuel Kant's The Critique of Judgment. Kant believes that beauty appears in the form of phenomena, on which  any aesthetic judgment should be based. Also, Kant believes that aesthetic judgment should not be based on personal interest or a specific goal, but should be general and universal so that it can be presented as a universal (subjectively necessary) judgment, that is, individual and personal feelings should not be involved in the judgment. Hanslik's approach to music criticism is also based on this concept.

Thinkers have always tried to define art with special features in the aesthetic analysis that they are common among all the artworks. But what they were suggested، for example representation and expression، is covered a part of artworks and artistic periods. Formalism recommends attention to structural، perceptual and formal elements in order to overcome on these problems as a method in the analytical aesthetics. In fact، abstract art required to this method. Modern art distances from representation of clear and bright images. Therefore، man could not judge with attention to the subject matter، representational content or conception of the artworks. A group of analyst tried to evaluate the artworks with recourse to formalistic tendency. They attempt to find the cause of the aesthetic emotion in form. It is said، the root of formalism is in the ideas of Kant. Early formalist، including Konrad Feilder and Eduard Hanslick، their thought reflects Kant’s idea about form. Feilder identified artistic creation with perceptional experience. This experience is free from any interest، motive and purpose. Gradually، the important of subject matter removed in the aesthetic analysis of the artworks. After his، Clive Bell، one of the formalist analyst، is based the understanding of art on “significant form”، of course due to ambiguity in the word of significant، his theory encountered with many critiques. Noel Carroll is one of these critics. Of course، many critics are for formalism and formalists، all persons do not accept an essence for art، including Kendal Walton and Arthur Danto. Nevertheless formalistic discussions are still ongoing. Even، it is said، he isn’t considered the importance of what is represented in the artworks. But due to the importance of formalism and its place in the modern art، we cannot reject simply it. It seems، we can find a modified formalism and a response to the ambiguity of significant in Niklas Lumann’s the systems theory. Because of، he is announced observation as common aspect in the all of artworks. In Luhmann’ art theory has been associated to each other observation and form and distinctions. This is same the different definition of form. Therefore، in his view form isn’t defined versus content، that is، what reflects content. Each form is made from a distinction، these distinctions are necessary for observing، for example the distinction of inside and outside is necessary for the observation of inside a thing، even though not observed its outside. It is important to observe the forms. Then the work of form does not finish in production and continues in perception with observation. We want to get to know with different version from formalism through the adaptation and comparison of the view of Bell and criticisms on it with Luhmann’ view on artistic form and formalism، because of، Luhmann had not the essentialist conception of art. In his view art is as a social system that is changing and evolving. We try to reach this aim with studying and review of their main woks through translation and analysis them.

Soft “revolution” or “revolution without violence”, in some of the newly independent countries of Central Asia and Caucasus has become one of the main subjects for scholarly debates in international politics after the collapse of the Soviet Union. Due to the direct role of the US in these nonviolent regime changes, the importance of foreign factors in explaining these events has become a focal point. Rose revolution of Georgia in 2003, causing the downfall of Eduard Shevardnadze is a clear example. In Georgia, the convergence of the domestic factors and foreign interventions has been the main question. It is however, argued in this paper that the domestic crisis has been mainly stemmed from not having an indigenous, smooth, and timely process of nation-building; crisis that has been manipulated by Washington. Having said all these, the question would be: under which conditions are such revolutions repeatable in other cases? Addressing this question can be useful both theoretically as well as practically, especially by those independent states who are being challenged by the US.

Turkish foreign policy as an emerging middle power in world politics has its own consequences. As Eduard Jordan in his conceptual analysis about middle power in international relations notes, the differences between traditional and emerging middle powers in international relations is indeed a reason on importance of geopolitics and regional security competition in the world which defines the security architecture of world politics in current moment and future. As superpower tries to consolidate its effect and dominance in world regional security complexes, it faces the great regional players which mostly are middle powers in international system. In this article we will analyze the Turkey's position as an emerging middle power dealing with U.S. containment policy on issue of Iran to understand the foreign policy making of emerging middle powers being align with grate powers in stabilization of international system and pursuing their own interests.

Weltschmerz by Ferdrick C. Beiser, is a study of the pessimism that dominated German philosophy in the second half of the nineteenth century. According to the author, Pessimism, broadly defined, is the doctrine that life is not worth living. This view was introduced into German philosophy by Schopenhauer, whose philosophy became very fashionable in the 1860s. Beiser examines the intense and long controversy that arose from Schopenhauer's pessimism, which changed the agenda of philosophy in Germany away from the logic of the sciences and toward an examination of the value of life. He examines the major defenders of pessimism (Philipp Mainländer, Eduard von Hartmann and Julius Bahnsen) and its chief critic, especially Eugen Dühring. In this paper, I introduce the book’s general approach, aim and contents, mentioning its privileges as a history of philosophy of an almost forgotten controversy and some wishes about its shortcomings.

Yakub Polak served in Iran from 1851 to 1860 as a private doctor of Naser al-Din Shah. Polak's extensive services in the field of medicine have made him a pioneer of modern Iranian medicine. But, in addition to medicine, he contributed a great deal to developing Iranian art and culture.  The main topic of the current research is Polak's services in Iranian culture and art. After the end of his mission and return to Austria, an extensive cultural and economic development was made in this country. According to Polak's great knowledge of Iranian culture and society and his scientific and political position in the Austrian imperial court, he was not merely an external observer of the cultural and economic developments of Austria, but he had a great role in strengthening the capabilities of Iranian art and culture.  In this study, a range of historical documents and analytical sources are reviewed. The findings show that Polak played an important role in sharing cultural and economic developments of Austria with the Iranian art and culture during the years of cultural and economic developments in Europe, including the preparations for Iran's participation in the international exhibition in 1873 AD,  inviting Naser al-Din Shah to Europe, writing Iran's catalog in the Vienna World Exhibition, facilitating Iran's participation in the World Exhibition of Oriental Carpets in 1891 AD, and writing an article in the catalog. This exhibition is considered one of the main activities of Polak's work for Iran.

From the second half of the eighteenth century, European orientalists translated and perfected the works of Attar. This was started by von Stewemer in Germany. After him, in the late eighteenth century and early nineteenth century, Silvestre de Sacy was influential in introducing Attar to the West with the French translation of the Pand Nameh and Manṭiq-uṭ-Ṭayr. Eduard Fitzgerald read the introduction by Gartens Dutzis to the French translation of Attar’s Manṭiq-uṭ-Ṭayr, and published the English version of the work ‘The Conference of the Birds’ in 1889. Thus, in the nineteenth and early twentieth centuries a movement in translation, correction, and interpretation of Attar's works emerged, and Attar’s collections were introduced to Europeans, and a new window opened for European poets and writers. The main purpose of this study is to examine how Attar's mystical thoughts and works influence France, England and Germany. Also, which works of Attar have been paid attention to and translated more? The research methodology is based on description and analysis. The findings of this article show that although the Germans were the first translators of Attar's work, the French played a more important role in introducing Attar to the West. The countries of Germany and England have been influenced more by Attar’s Pand Nameh and Manṭiq-uṭ-Ṭayr and Attar's mystical thoughts and works have a noticeable effect on the works of European poets and writers

Decisions about neonatal end-of-life care have been done in several countries and Neonatal ethics must answer several basic questions:Is withholding potentially life-saving treatment from infants morally justified?What are the necessary criteria for stopping treatment in cases of futile and ineffective treatment?Who has the authority to make decisions for a critically ill baby? Abandoning life-saving treatment is definitely not morally justified, but if the treatment is useless and we are faced with an incurable disease, is it necessary to continue the treatment? And is stopping treatment morally wrong?We definitely need scientific and evidence-based protocols for any decision to stop the treatment of an incurable patient.The first 28 days of life – the neonatal period – is the most vulnerable time for a child’s survival. According to UNICEF January 2023 statistics: Globally, 2.3 million children died in the first month of life in 2021 – approximately 6,400 neonatal deaths every day. One of the successful interventions in reducing infant mortality is overcoming ethical challenges in infant care and treatment. Failure to comply with the laws and code of ethics in some special care departments for newborns can cause challenges. Codes of ethics are general principles, rules and standards, including ethical standards and guidelines for the performance of employees in their roles. When ethical codes are followed in the provision of health care services, the quality of care is improved.The Groningen Protocol created in 2004 by Eduard Verhagen, at the University Medical Center Groningen (UMCG) in Groningen, the Netherlands. It contains directives with criteria under which physicians can perform "active ending of life on infants" (child euthanasia) without fear of legal prosecution.[1][2][3]  and has been ratified by the Dutch National Association of Pediatricians.[4]The protocol, drawn up after extensive consultation between physicians, lawyers, parents and the Prosecution Office, offers procedures and guidelines to achieve the correct decision and performance. The final decision about "active ending of life on infants" is not in the hands of the physicians but with the parents, with physicians and social workers agreeing to it. Criteria are, amongst others, "unbearable suffering" and "expected quality of life". Only the parents may initiate the procedure. The procedure is reported to be working well.[5]For the Dutch public prosecutor, the termination of a child's life (under age 1) is acceptable if four requirements were properly fulfilled:The presence of hopeless and unbearable suffering.The consent of the parents to termination of life.Medical consultation having taken place.Careful execution of the termination.[5]Doctors who end the life of a baby must report the death to the local medical examiner, who in turn reports it to both the district attorney and to a review committee.

A novel data-driven control methodology is introduced in this paper, specifically designed for unknown linear time-invariant systems. Schur stability is established through the application of Linear Matrix Inequality (LMI) conditions, and system performance is improved by leveraging the concept of D-stability. Stability and performance are ensured by incorporating LMI features, with reliance solely on a finite set of collected data, eliminating the necessity for system model identification. Hence, the original performance mapping problem undergoes a transformation into a stability issue, incorporating modified system matrices. Then, the stability condition is formulated within the framework of LMI. The effectiveness of our approach is exemplified through two specific examples, highlighting the significant and impactful results obtained. These examples serve to showcase the practical application and outcomes of our methodology within the defined scope, providing a clear demonstration of its performance and efficacy in addressing relevant scenarios.