Research Paper
gholamhoseyn tavakoli
Abstract
Moral Error Theory was formulated by J. L. Mackie and later modified and supported by other scholars, including Richard Joyce. The theory has been so influential that some authorities consider new realism of late 20th century a response to Moral Error Theory and an attempt to resolve the dilemmas Mackie ...
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Moral Error Theory was formulated by J. L. Mackie and later modified and supported by other scholars, including Richard Joyce. The theory has been so influential that some authorities consider new realism of late 20th century a response to Moral Error Theory and an attempt to resolve the dilemmas Mackie created for the moral objectivists. In other words, followers of this theory believe that all moral propositions, while descriptive of truth, are false, for the truth they refer to does not exist in the outside world. It has both positive and negative aspects. Its negative aspect is related To ontology or moral metaphysics. In this regard, the supporters of Moral Error Theory reject the existence of moral facts. Its positive aspect is, in fact, its semantic and linguistic aspect; the moral facts are said to refer to real affairs, moral sentences are descriptive, and the language of morals is used to serve this purpose. Caught between Realism and Non-Realism, Moral Error Theory, thus, takes the middle stance; it accepts the value of moral sentences in the same way as Realists do. On the other side, it rejects objective moral facts in the same manner as Moral Non-Realism does.
Research Paper
mohammad fanai ahkevari; ali karimian seyghalani
Abstract
The most important question ever posed in the realm of Art Studies investigates the relationship between aesthetic principles and artistic discourse. Taking note of the fact that schools base their definition of aesthetic principles on their intellectual frameworks, the authors of the present paper seek ...
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The most important question ever posed in the realm of Art Studies investigates the relationship between aesthetic principles and artistic discourse. Taking note of the fact that schools base their definition of aesthetic principles on their intellectual frameworks, the authors of the present paper seek to extract and organize the aesthetic principles which are based on the Islamic Mysticism. This paper addresses mystical aesthetic-epistemological principles since the existence and appreciation of beauty constitute the main foundations of aesthetics. Although this paper is not intended to compare the aesthetic principles of the Islamic Mysticism and contemporary art, it sheds light on the fact that the Islamic Mysticism owns some fundamental principles in aesthetics which could attract the attention of the researchers working in the Philosophy of Beauty and contemporary art.
Research Paper
maryam sane pour
Abstract
The civilization of any nation covers all of its cultural elements, and the myths constitute their early cultural motifs. According to Jung, the myths are present in the collective unconscious of any nation while Vico believes that the scholars of any age would be able to discover the history through ...
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The civilization of any nation covers all of its cultural elements, and the myths constitute their early cultural motifs. According to Jung, the myths are present in the collective unconscious of any nation while Vico believes that the scholars of any age would be able to discover the history through the study of myths. Due to their meta-historical nature, the ancient myths are good examples which meta-historically demonstrate the amazement, respect, and fallibility of early mankind to contemporary mankind. Meta-historical awareness of myths provides one with the opportunity to trace the origins of civilizations and facilitate mankind's progress. This article addresses the Greek myths as the most fundamental elements of modern Western civilization from a meta- historical perspective.
Research Paper
hajar nili ahmad abadi; ali karbasi zadeh
Abstract
This paper aims to conduct a comparative study of the views held by Allameh Tabataba'i and Kant on the social freedom. Their views are introduced in the first two parts and compared and contrasted in the last part. Allameh Tabataba'i believes the true freedom to be freedom from all restraints but the ...
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This paper aims to conduct a comparative study of the views held by Allameh Tabataba'i and Kant on the social freedom. Their views are introduced in the first two parts and compared and contrasted in the last part. Allameh Tabataba'i believes the true freedom to be freedom from all restraints but the submission to God. Kant, however, deems true freedom to be freedom of the will. They both believe that the mankind first resists the establishment of social life but finally accepts it and enacts the law to secure the society and enjoy the social freedom. In Allameh Tabataba'i's belief, the law should be based on monotheism, resurrection, ethics, and reason, while for Kant, freedom of the will and the self constitute the basis for the law. They, however, share the belief that the law by itself could not help the mankind to establish the social freedom. Allameh Tabataba'i declares monotheism and ethical faith as the basis of the law, and Kant deems ethical rules based on pure reason its prerequisite.
Research Paper
mohammad rezai
Abstract
Mulla Sadra devotes considerable attention to the soul as the subject and considers it to be a creative being. As realization of perceptions is one of the fundamental subjects of epistemology, this article claims that reliance on the creativity of soul during the process of perception does not guarantee ...
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Mulla Sadra devotes considerable attention to the soul as the subject and considers it to be a creative being. As realization of perceptions is one of the fundamental subjects of epistemology, this article claims that reliance on the creativity of soul during the process of perception does not guarantee the eidetic objectivity of perceptions with material beings as a part of perception; however, the forms created by the soul, i.e. subjects known indirectly become objects known by presence thanks to the creativity of soul. Whatever their relation with the subjects known indirectly, they could not b claimed to have eidetic objectivity. Moreover, the unity between soul and active intellect could not prove that the mental forms should necessarily have eidetic objectivity with material beings.
Research Paper
alireza esmaeel zadeh; ahmadali heydari
Abstract
The present paper seeks to provide the reader with a brief description of Alain Badiou's Philosophy of Ethics and conduct a comparative study between Badiou's and Kierkegaard's views on ethics. Both philosophers identify several domains in which a subject can potentially witness an event. Their views ...
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The present paper seeks to provide the reader with a brief description of Alain Badiou's Philosophy of Ethics and conduct a comparative study between Badiou's and Kierkegaard's views on ethics. Both philosophers identify several domains in which a subject can potentially witness an event. Their views on the nature of ethics and the role it plays in different domains of life constitute the backbone of the study.
Research Paper
ahmad rahmanian; shamsol moluk mostafavi
Abstract
While the ancient Greek never had a specific term for what we know today as art, they used poiesis and techne to refer to concepts broader than contemporary fine arts. Poiesis meant "to make" and "to bring forth". It was a verb, an action that transformed and continued the world. This transformation ...
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While the ancient Greek never had a specific term for what we know today as art, they used poiesis and techne to refer to concepts broader than contemporary fine arts. Poiesis meant "to make" and "to bring forth". It was a verb, an action that transformed and continued the world. This transformation was done through techne and physis. In physis, now translated as nature yet having a broad connotation then as it covered the gods, the creatures came into being by themselves. In techne, they were, however, created by technites. Plato changed not only the Greek thinking but also its attitudes towards the art. According to Heidegger, eidos (idea) is innate and equal to ekphanes and ekphanestaton (what properly shows itself as the most radiant of all is the beautiful). By way of the idea, a work of art comes to appear in the designation of the beautiful as ekphanestaton. Heidegger goes on to consider this a main component of the aesthetic attitude towards the art. One would also recognize two other events in Platonic thinking which could be considered the origins of other components of aesthetics: separation of art and truth as well as separation of beauty and truth. As to on should necessarily be divided into aletheia (truth) and phainomenon (image), the artist is an on phainomenon, and the art and truth become separated. Following his ancestors, Plato draws similarities between to kalon (beauty), to agathon (good) and to alethes (truth) and considers beauty to belong to the realm of on phainomenon and truth to the realm of alatheia in Phaedrus. Therefore, the three mentioned aesthetic components are all rooted in the Platonic Idealism.
