PHILOSOPHICAL INVESTIGATIONS
Year:2019 | Volume:15 | Issue:35 |Papers Count:9

Concept of truth has a unique importance in Popper’ s philosophy of science and this is mainly because of his acquaintance with Tarski and his semantic concept of truth. In Popper’ s view, Tarski’ s theory is a correspondence theory and this viewpoint has been criticized from different perspectives. For example, some philosophers criticized the correspondence theory of truth, regardless of who its proponent is; and some others mentioned that Popper’ s interpretation of Tarski’ s theory of truth is not consistent with other parts of Popper’ s philosophy. In this paper, I’ ll try to answer to the following questions: Did Tarski himself regard his semantic theory as a correspondence one? In spite of Tarski's own view, was Popper right in using Tarski’ s theory of truth as a correspondence theory? First, the main core of semantic theory of truth is introduced and is continued by Popper’ s interpretation and its two main criticisms by Herbert Keuth and Susan Haack.

In “ Critique of Judgment” Kant deals with Judgment of Taste and besides this, he also defines the position of arts by bringing examples based on beauty (fineness), agreeability and sublimity. It is exactly here where except for poetry for which he considers a very particular position, he cannot give a distinctive position to any other art. In Kant’ s view, music has the most suspending position among all arts. For Kant, music is sometimes an agreeable art and sometimes a fine one. The Suspending place of this art appears due to Kant’ s uncertainties in making decisions in examples he brings for the development and clarity of his aesthetics. For some reasons which are not among the basic elements of his judgment, he sometimes puts music outside his aesthetic theories. One of these reasons is “ Transience” . In a part of “ Critique of Judgment” , he classifies music outside fine arts because it produces transient mood, while he had never considered transience and time directly as an essential and basic element in his judgments. In this article and with reference to Kant’ s own theory and review of what he has said on the concept of Time and also his ideas elaborated “ Critique of Judgment” , we try to demonstrate that if Kant had adjusted his thoughts more precisely to his classification of arts, then he would place music at the highest position.

The purpose of this paper is to examine the educational principles of children from the perspective of Rousseau and Kant in two comparative purposes and principles. For Rousseau, the goal is to cultivate harmony with nature, and Kant considers the most important goal to be the discipline of moral education. Common principles include the gradual upbringing, opposition to corporal punishment, and the consideration of punishment as a result of observation. Rousseau believes in the freedom of childhood and education for the present and the pursuit of nature. Criticizing this view can be the neglect of education appropriate to the development of children up to the age of 12 and the negative view of society and its pervasiveness. Kant, on the other hand, believes in moving from discipline to freedom, attention to the future, and the formation of good habits through obedience to adults. Criticizing his point of view can be the neglect of free activity in children. As a result, in adulthood one will be unable to make decisions and gain independence because of the spirit of obedience in childhood. So there is a radical view of freedom in Rousseau's terms and in Kant's discipline.

The present article attempts to enumerate moral desires in Plato`s idea and seeks the rationality of those morals. Hence, as an introduction this article discusses Plato`s cosmology and self-knowledge and the explicates their relation and affiliation by virtue of rationality and desirability of the desire their hidden rationality and the purpose which has led Plato to such a conclusion furthermore. By drawing upon such introductory words, “ moral virtue” is introduced as Plato`s wish and principal virtue are enumerated and set forth. These moral virtues encompass all the other virtues such as chastity, courage, wisdom and finally justice. Each of these virtues is deduced from Plato`s self-knowledge and the rationality of these desires has been discussed in light of word of ideas as Plato`s cosmology. Accordingly, it is concluded that word of ideas – the ultimate goodness which is the sauce of the word and all the goodness in it-is the perfect example of all virtues and attaining it brings about human Happiness. Therefore, happiness, the end point of moral action and the ultimate goodness is a result of that. And achieving those virtues is the passage to accomplish them.

Scenic design has always been considered as the result of combining two areas of art and science. One of the fundamental areas that enrich the scenic design is the philosophy. The realm that can act as the third side of the perfection triangle in the scenery enters into the action and leads to the development of this visual field in theater and performing arts. This paper has an attempt to suggest the idea by a brief glimpse of Anaxagoras' philosophy that philosophy and some of its fundamental concepts can be exploited directly in theater scenery and further develop and deepen it. For this purpose, Anaxagoras is considered as a unique example of addressing such an idea. On the one hand, he had a complete and immediate acquaintance with Greek theaters and theater plays including Euripides and on the other hand was considered as one of the great scholars and philosophers of ancient Greece. In other words, Anaxagoras can be lonely as the primitive explanatory and the foundation of the idea is the triangle of philosophy art and science in theater scene. What is obvious is that it is impossible to address all aspects of Anaxagoras's philosophical and scientific theories in this research and the author has attempted to briefly introduce some general concepts of the ideas of this Greek philosopher and adapt them to the process of creating theatrical scenery.

According to Alain Badiou mathematics is ontology. This is a meta-ontological thesis; that is, it is neither mathematical nor ontological. The crucial consequence of this thesis is that philosophy is separated from ontology. So it is not no longer the task of philosophy to think of being. Instead, Badiou regards an axiomatic system based on set theory as the sole form of thinking about being qua being. In his philosophy, the traditional concepts of philosophical ontology transform and link up with set theoretical concepts. It should be mentioned, however, that being in his thought neither has a mathematical form nor is a mathematical object. Not surprisingly the most difficult part of Badiou’ s philosophy is ontology, partly for the reason that to fully grasp it one must know both the western tradition of philosophy and the set theory. Moreover, it is impossible to fully comprehend the body of his philosophy without having a deep understanding of his fundamental and technical discussions in ontology. In this essay, firstly we explain what Badiou means by the axiomatic system, and then we give an account of some basic concepts of his philosophy on the basis of their corresponding concepts in set theory, in order to show that how Badiou thinks of “ being” by means of mathemathics.

In the present research, various definitions of the term "essence" and its function in the question of "authenticity or validity of essence" are discussed. The author's specific method is based on the conceptual analysis of opinion polls in terms of the historical course of philosophical schools. The first-hand work shows that al-Farabi, by expressing certain terms, believed that external existences existed. Later, the terminology and kind of his view were deployed in the philosophy of Sinai. Suhrawardi, in terms of the meaning of "We gave al-Shao Ho Ho" for essence, its originality and the validity of "existence. " In contrast, Mulla Sadra established the meaning of the "essence" in his philosophy and voted for the validity of the nature; but some people are precise to find that, in Sadra's philosophy, there is confusion between the essence of the mind and the external nature, and in the word "essence" It has been forged. Sheikh Ahsaee and Mirza Isfahani also, with the introduction of new terms, considered the combination of concrete and a combination of existence and nature. The result of the statement is that the promise of the originality or validity of the essence of the concept of any thinker originates from this term, not the pseudo-reasons. Therefore most Muslim thinkers, according to the realist approach, at least adhere to the principle of the essence of the belief.