Kayvan Ansari; malek Hosseini; Shahla Eslami
Abstract
Mental obsession‒mostly considered as an illness or as a neurosis‒ consists of repeated, compulsive, unstoppable thoughts causing severe anxiety, and often leads to obsessive actions like washing hands or body, checking, counting, doing some ritual, and so on. In psychology, these thoughts are supposed ...
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Mental obsession‒mostly considered as an illness or as a neurosis‒ consists of repeated, compulsive, unstoppable thoughts causing severe anxiety, and often leads to obsessive actions like washing hands or body, checking, counting, doing some ritual, and so on. In psychology, these thoughts are supposed to be absurd and completely irrational; so in cognitive therapy sessions, psychologists try to reveal their irrationality for patients. In a similar way, psychiatrists tend to block these thoughts’ way to the patient’s mind, by prescribing different drugs. Free from psychiatrical or psychological approaches, this article, taking a philosophical one, conducts an analysis of mental obsession, based on which, obsessive thinking makes one’s living abnormally interrupted and discontinuous, which means it is useless and inefficient; at the same time, it entails truth and perceives real details of things which can not be grasped by everyday consciousness. Therefore, obsessive thoughts are not unrealistic, though they are unpragmatic.
masoome mirsaeedi; malek Hosseini; Shahla Eslami
Abstract
It seems that objective historiography and the question of the real referent in photography do not have a clear relation, as can be seen in most of the contemporary essays on the relation between history and photography which are based on new definitions of representational capacity of photography and ...
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It seems that objective historiography and the question of the real referent in photography do not have a clear relation, as can be seen in most of the contemporary essays on the relation between history and photography which are based on new definitions of representational capacity of photography and have no attention to past currents of historiography although all of them, in criticizing the photographic representation refer to works of Roland Barthes and his contemporaries, as the classical texts on photography. But a point that has been almost ignored is that Barthes' attention to the problem of the referent in photography goes beyond mere structuralism. His works on these two seemingly distinct areas namely history and photography show that his critical attitude toward the tradition of objective historiography, through all his intellectual life, from structuralism to poststructuralism, has been present in different areas including photography. What Barthes looks for by analyzing the problem of referent in photography is indeed the problem of objective historiography and its relation to reality, which he believes is not representable. Doubting the possibility of objectivity in historiography, Barthes challenges within semiotic framework the notion of ”photo is equal with reality” and therefore criticizes the realistic approach in history and photography.
