Realism, in a general sense, means fundamental will and tendency toward the objects outside the mind. Historically speaking, it has drawn the attention of the human mind. Aristotle has regarded the works of art as the imitation of nature. This idea has been strengthened even after his death. In the 19th century, first in France and then in the other countries, movements and schools emerged aiming at stabilizing the fundamentals of realism. The realist writer always uses convincing psychological innovations, internal and external causes to depict the characters interactions in social and personal structure. The present study describes realism, in a general sense and as a famous school in the 1990s. It also critically deals with its important types in fiction.

According to Farabi, imagination has three functions: preserving sensible forms, analyzing and synthesizing them, and representing sensible and intelligible forms by sensible ones. The Public can obtain intellectual truths and happiness only through imagination. Farabi offers imagination as an explanation for prophecy. According to Farabi, imagination has some political and social functions.

Research in literary texts and artistic works must be along with knowing philosophical imagination and understanding epistemological aspects of imagination and thus is indebted to the fundamental role of imagination in poets, literary men and artists' creations. So, thinking and research in theosophists: and philosophers' views about the essence of imagination are the basic discussion in the philosophy of literature and art. This article explains the most important epistemological arguments in philosophy with the help of Farabi's view. In Greece, for the first time, Plato gave the last and the lowest level to imagination in philosophical system and that is why artists and poets have been rejected in his Utopia. But Aristotle saw the imagination from a philosophical view. He called it one of the faculties of the soul which is able to hold and record the forms. At the beginning, Islamic philosophy reviewed Greek philosophical texts, then accepted some of Plato's and Aristotle's thoughts and their schools in Neapolitan and Alexandria as the bases and rejected their deficiencies and refutations. Therefore, it began to expurgate, correct and complete views in Greek Philosophy. Among them, Farabi, who is called "the second teacher", is one of the most famous Islamic philosophers and in other words, has established the Islamic philosophy. He has especially innovated some views in "imagination". These originations have created many brilliant literary examples in Islamic-Iranian literature and culture. The main questions in this article are: the essence of these innovations and explaining their bases and sources. But a complete illustration of this argument must be done after explaining the position of imagination in Greek philosophy, especially Aristotle's thought.

In cosmological discussions, it is argued that the cosmos consists of the invisible world and the visible world, and that every event happened in the visible word is inscribed in the supreme beginnings and immaterial intelligences. Hence, availability to the invisible world means connection and communication with human soul. This essay, in which an attempt is made to explain Ibn Sina’s viewpoint on the function of imagination in relation to the hidden, first presents the function of imagination in thinking and understanding the universals. Then it discusses the how of its function in receiving invisible things. And finally it deals with the epistemology of revelation and dream as two principal categories connected to the hidden.

The prevailing view of the author in contemporary literary theories has emerged from the theorizations of poststructuralist thinkers such as Roland BARThEs and Michel FOUCAUlT. These Theorists refute the traditional view which regards meaning as exclusively determined by the author and reduces the process of reading to an attempt at discovering the authors "intension" as disguised in the text. Taking their lead from Jacques DERRidA, poststructuralists believe that western literature and philosophy has been based on the erroneous assumption that language is a reliable tool for reflecting reality. DERRidteArms this untenable premise "logo centrism" and considers it to be an illusion to which meaning originates from reality and is capable of reflecting the structure of reality. He argues that the author merely makes mention of a chain of signifiers that evoke a range of signified. As such, it may be postulated that no text has a hidden "message", but that every text in fact manifests a free play of signs. The first sections of this article are a review of traditional views on the relation of the author and the meaning of the text. The second section discusses the new challenges to the status of the author posed by poststructuralist theorists. Citing DERRidA'S arguments about the "metaphysics of presence" and also BARThEvS view about the "death of the author" as well as FoucAulr’s notion of "author-function", it is argued in this section that on the basis of such modern literary theories it is no longer possible to simply refer to the author's name or biography and conclude from there that the text has a single meaning intended by its writer.

This article is an attempt to withdraw from the literary canon throughout the world the most prominent pioneers who told about their spiritual journeys (Mi’raj). The nature of the miraculous journey of prophet Mohammad being the most influential of all other ascents according to moslems is emphasized. Also the account of their spiritual, mental, and internal journeys by stages from the start of their pilgrimage to their final attainment is given in their own words. 

Hans- Georg Gadamer, the famous German philosopher of our time, believes that the experience of a work of art is a meaningful experience. To shed light on this experience, he focuses on the concepts of the symbolic and mimesis as the well as the relation between them. He believes that symbols consists is a metaphysical connection between the visible and invisible; the inseparability of visible appearance and the meaning of invisible significance. From his perspective a symbol represents the symbolized and its meaning should not be searched outside of it; but in Gadamerian words, the meaning of a symbol, like the meaning of the artwork lies in the fact that it is there. This attitude not only establishes a link between the work of art and another concept, i.e. mimesis but also implies its existential unique nature. Gadamer has barrowed the concept of mimesis from antiquity to and has considered its original nature to be recognition which to him means understanding and cognizing something as something that has already been seen. This refers to uniqueness of artistic work and its experience. Artistic work cannot simply thought as a bearer of meaning because if it is just a bearer, artistic work changes into a replaceable concept which while human experience convinces indicates that human begins are particularly keen on artwork due to its irreplaceable and unique nature. Moreover; the special meaning of the work of art is related to the human being and their experience. The sensuous of the work of art and being confronting by it, without a doubt, is an encounter with the existential human nature.