Wisdom and Philosophy
Year:2011 | Volume:7 | Issue:2 (26)|Papers Count:8

Befor Inb Arabi, according to the Helenistic view, the human perception was confined to sensations and objects of reason. And, for the sensation was regarded as an instrument for reason, the latter was thought as the final perceptive faculty.Furthermore, the reason supported by logics, was regarded as the final judge. In the mentioned thought tradition, all of findings should be assessed in the light of reason to their truth or falsity be determined.Ibn Arabi suggests a new worldview and makes the traditional conception of reason encountered to some main challengs. According to this fact, orientalists rightly have called him the largest and most influential thinker in the second half of Islamic age. Ibn Arabi's meeting with Averoes–the main philosopher of his age–is regarded as a kind of end for a long time tradition and the begining of a new route. The route Ibn Arabi founded is takig authority from reason and giving it to the imagination in a strict sense. Nowaday, after the rise of postmodernism and many challenges about modern hypothses about the nature of human being and rationality, and refutation of many modern assumptions, inclination to reassessment of oriental thoughts has been increased, and therefore, there is an increasingly interest in Ibn Arabi's views. Thus, it is necessary to all of his ideas are studied in the light of current streams of thoughts. This paper tries to study and explicate Ibn Arabi's views about the imaginantion and its role and function in the realm of perception.

One of the most fundamental elements of Nietzsche's thought is the notion of eternal recurrence of the same which he regards himself as the teacher of it.According to this notion, I shall return eternally to this identical and self-same life, in the greatest things and in the smallest, not to a new life or a better or a similar life. Nietzsche takes the eternal recurrence as a test or as a selective principle for life-affirmation and as an antidote to the nihilism following god's demise. In the light of eternal recurrence we can redeem the past and transform every "It was" into "I wanted, It thus" and be succeed in reaching the will to power and saying yes to the world as it is.

In the analysis of natural and artistic beauty, Kant explains the pleasure of the taste based on free play between Imagination and Understanding upon the principle of teleology of nature. Hence, the aesthetic judgments are produced by indeterminate harmony between Imagination and Understanding. Kant explains the Sublime upon this principle, but he has not noticed the harmony between Imagination and Understanding in detail. Consequently, some of commentators have held that the Sublime is not important in Kant's philosophy of art. However, is it true that Kant has changed his opinion about aesthetic sensations? This paper aims at showing the fact that the Sublime is very important in Kant's aesthetical thoughts, because it explains the highest sensation of the Imagination and connects the Sublime to ethics and religion.

When the human being starts to know himself and appreciate his abilities, it is as if he has a kind of responsibility to transcend himself form lower stages of humanity to higher ones. For Kierkegaard, this transcendence is possible by helping of the human outstanding characteristic, namely the Anxiety. According to his notion of anxiety, any individual is always concerned and anxious about the quality of his choices. This anxiety leads the individual to choose the best choice through which he can represent his very own self as much as possible. For Maulana, the human being who has the thought faculty which differentiates him from other livings, not only can grasp knowledge about himself, but also about other things, just by applying this ability correctly. Consideration of both thinkers' thoughts can help us to comprehend this ability. In this paper, we investigate human being in order to recognize the spirit's stages and to know human beings' outstanding characteristics in the two mentioned thinkers' thoughts. Therefore, we investigate the privacy and the examination for attainment more pure self.

In this paper, following an analytical-critical method, I will try to give an analysis of Sidgwick’s ethical intuitionism. I will focus on his critical analysis of Common Sense Morality, which he has called “Dogmatic Intuitionism”, and state the moral principles which he has regarded as self-evident and absolutely valid ones. Then, through some critical reflections upon Sidgwick’s moral principles, I will try to answer to the question whether his principles are in fact self-evident and absolutely valid ones or not. I make some points to show that Sidgwick has wrongly assumed them as self-evident and absolutely valid principles.

Einstein’s theory of relativity made many difficulties for Newtonian physics, so as it did not remain any way for keepingit but setting apart or reforming some of the most fundamental concepts such as space and time. Many thinkers believe that relativity theory made some irreparable hurts on Kant’s philosophy. However, some other thinkers, like Godel, have tried to read relativity theory in such a way that not only have no contradiction with Kant’s philosophy, but also introduce some affirmations for it. This paper casts light on Godel’s effort for reconciling relativity theory with Kant’s philosophy in the topic of ' Time'; It also contains some remarks on the point that how conception of time in relativity theory can lead us to defend Idealism. Finally, it would be suggested that for reconciling Kant’s philosophy with modern science, we should both cease his inflexibility about the process of acquiring knowledge and set apart the hypothesis of being unknowable of the thing-in-itself.

Since Hume believes that beauty is pleasurable sentiment, he cannot refer to the certain objective qualities for resolving aesthetical disputes. Hence, he introduces the common judgment of judges as the standard of the taste. Hume himself accept that in spite of efficiency of this standard, two factors, namely different humors and different particular manners, lead to a kind of constricted relativism in the aesthetic judgment. A precise investigation will show that this standard can be successful in the simple and none-comparative situations.However, in the case of comparative judgments-when we speak about preferences of an artist in comparison to the other's ones-this standard cannot be efficacious.If beauty is pleasurable sentiment, everybody accredit his sentiment and would not accept other's sentiment.