According to Deleuze, it is an expression of the discipline that connects Spinoza's ontology, epistemology, physics, and ethics. In other words, the logic of expression is the logic that governs all the different areas of Spinoza's philosophy, and for this reason, Deleuze named his most detailed study about Spinoza Expression in Philosophy, Spinoza. In this article, I try to have an overview of this book and while examining each section, the concepts proposed in them and the process of the chapters, how Deleuze identifies the presence of the logic of expression in each aspect of Spinoza's philosophy will also be displayed. In this way, the basic concepts in Deleuze's reading of Spinoza will be revealed. In addition, we will see how immanence is related to expression in ontology, and how Deleuze describes the trinity of essence and its results by identifying two levels of expression, creative nature and created nature, as well as the theory of finite states. With respect to physics, the body is an expression of substance, a mode that is essentially an intensive degree of power. In this way, the triad of mode expression is described. In epistemology, the sufficiency of the true idea implies its expression. In ethics, the issue is about capacity and power, which belongs to the human body and mind, since the mind and body are an expression of essence, and therefore a degree of power.

Deleuze's philosophical commentary on Spinoza is a critically important work because its conclusions provide the foundations for Deleuze's later metaphysical speculations on the nature of power, the body, difference and singularities. Deleuze and Spinoza is the first book to examine Deleuze's philosophical assessment of Spinoza and appraise his arguments concerning the Absolute, the philosophy of mind, epistemology and moral and political philosophy. The author respects and disagrees with Deleuze the philosopher and suggests that his arguments not only lead to eliminativism and a Hobbesian politics, but also they cast a mystifying spell. Opposed to feminist philosophers who find Deleuze's theories practical for the third wave feminism, Gillian Howie proposes that a turning to Marxism and critical theory would be an answer.

Impressionism and EXPRESSIONISM are two important artistic movements in the late 19th century and the early 20th century that could motivate some intellectuals in literature. Significant human issues, great industrial growth, war, exploitation, and thousands of other significant crises were the themes of great and lasting artistic works. Like other crisis-stricken countries of the century, Iran and the Middle East were involved with tensions and reverberations of these crises. Mehdi Akhavan Sales and Badr Shakir al-Sayyab are two representatives of Iranian and Iraqi artists who, keeping in line with other artists, depicted loneliness and isolation of human being in the tumultuous century and they fulfilled the dream of freedom through painting portraits that made up of words and fancy. In this article, considering the aura of the poems, their common grounds with some works of painting in the two artistic movements are discussed. The selected poems are classified according to their themes in terms of the two painting styles. This article seeks out the selection and representation of aestheticism of expressionist and impressionistic images. According to this research, Akhavan Sales and Badr Shakir al-Sayyab are practitioners of both artistic styles, but Sayyab’ s images coming from imagination with all the trials and tribulations of his time that are inclined more to Impressionism while those of Akhavan Sales are inclined more to EXPRESSIONISM. The reason lies in Shakir al-Sayyab’ s consideration of his surrounding environment or his concrete attitudes and Akhavan’ s inclination for history. Thus, there is a more ambiguous attitude in Akhavan’ s poetic images.

Problem statement: The art and architectural movements, which represent two relevant categories, have been permanently presented together throughout history and affected by each other concurrently. Following the formation of the artistic currents, from the middle of the19 th century onwards in both the European countries and the United States, frequent artworks have emerged. Therefore, the pertinent schools of thoughts have led to specific changes in the art fields, including the architecture in Iran from the 1940s onwards. Probably, the most prominent artistic currents that affected the buildings of contemporary time was the influence of the expressionist current of art on the architecture of the Pahlavi era,an era in which architecture and modern art were moving forward in the same direction. The influence of contemporary Iranian architecture on newfound arts indicates the necessity of this research study. Research objective: The purpose of this study is to investigate the role of EXPRESSIONISM art current in contemporary Iranian architecture, and to identify the expressionist architectural patterns and their representation in Iranian administrative-service buildings. Research mthod: Following the completion of the field observation, the case studies were selected, and then relying on the library data and reviewing the reliable documents, the effect of EXPRESSIONISM art flow on contemporary Iranian architecture was evaluated in the Pahlavi era by using a historical-interpretive method. This is followed by the analytical descriptive method to represent the research findings. Conclusion: The results indicate that the components of EXPRESSIONISM style in all three aspects of ‘, objective’, , ‘, functional’,and ‘, physical’,dimensions are presented in the administrative-service buildings during the Pahlavi era. In this regard, the emergence of objective components appeared to be more significant than the other two components. The most frequently used architectural aspects of this artistic style in administrative-service buildings in Iran include: the simple and often elongated plans along with the building, the symmetrical facade composition, the gable roof, the specific form of porch, the vertical partition of the facade, the distinctive rhythm of the facade with rectangular and elongated windows, and finally the decorative balusters designs (ṭ, ā, ramī, ).

In this paper tries to point to genesis of Modern Art and its features and aspects Based on an academic approach, and also styles that will impact on this timeframe.Evolutions that occurred in the second half of the nineteenth century in Industry (Including the invention and evolution of the photography industry since 1839), science, philosophy, economics and politics have influenced the thoughts and ideas of modern artists.Multitude of artistic styles those are characteristic of modern art was dominant art the late nineteenth and early twentieth century.Usually the history of modern art is defined based on the modern art movements; Impressionism, Cubism, Futurism, EXPRESSIONISM and Surrealism as the artistic styles that Put a great Effects on modern art.With An Overview of this styles and Referring to their influences and also effective artists, we will analyze the reasons for their rise and decline.

Bergson's philosophy has sometimes been regarded as dualistic and sometimes as monotheistic. The price of being partial to each has been to destroy some of Bergson's concepts and specifications in favor of others. In the meantime, some have tried to read Bergson's philosophy as dualistic and monistic at the same time, but the efforts have not only been unsatisfactory, but have also added to the previous difficulties; Because sometimes he has changed Bergson's philosophy to a philosophy of existential unity, sometimes he has made it based on a dialectical foundation, and sometimes he has turned it into a kind of conventional dualism. Gilles Deleuze, by proposing the doctrine of "difference", has given a reading of Bergson's philosophy, based on which Bergson's philosophy has different moments of dualism and monotheism, in each of which Diernard accepts a different "expression": From absolute dualism to hidden monogamy and then to recovered dualism. The purpose of this article is to highlight the fundamental difference between Deleuze's reading and other readings of existential unity or dualistic or dialectical of Bergson's philosophy, and to show that the explanation of these moments and especially the explanation of the logic of the last transition to recovered dualism requires recalling a doctrine that although Deleuze himself He cultivated it, he did not emphasize it much in his reading of Bergson. In this way, the claim is that explaining the logic of separating the moments of Bergson's philosophy in Deleuze's reading, as well as the logic of the transition from one to the other, instead of considering the two statements of Dirndt, it is necessary to consider the third statement of Dirndt as a difference in itself. This is the way that the expression of each aspect of Dirand is possible in three types of difference: Dirand as a pure thing in the essential difference, Dirand as a comprehensive thing in the difference of the material, and Dirand as a creative thing in the difference in itself.

As far as early 20th century; the powerful presence of figurative, representational painting Was felt throughout the history of art. But non-figurative arts, more often than not, appeared in applied, and decorative aspects of art. In early 20th century, avoiding to depict objective, real world, the European painter removed the recognizable objects and elements, and known forms within the objective and visual world from his painted scenes, and tended to reflect his own inner world. His reorientation from the' outside world to the human inside, from representing objects to depicting forms, was considered to be the advent of the evolution of the, modern artistic expression, and the gradual appearance of the non-figurative, or in a sense abstract, painting. Painting was no longer the only single means of representing the visual world. Representational reflection of richly pure, colorful forms could provide the painter with devices to visualize internal echoes of thing, and their reverberations in the human spirit. In this period, the painter was convinced that if the pure, figurative harmonies were devoid of objective or metaphoric pictures.  they could be exciting - just as pure sounds of music could be. Ignoring natural pictures altogether, the painter surrended himself to the hands of the representational power of colorful forms.  This paper, referring to the context of the development of the abstract art, zero on in the initiators, and the major trends that developed in this art.

EXPRESSIONISM or Constructionism is a school in literature, painting, and cinema in the early twentieth century in Germany. EXPRESSIONISM in literature is the way that looks at the world through emotions which can be a sign of reaction and romantic desires of artists who lived in industrial and developing societies in the early twentieth century. Moreover, they aimed at providing a definition of capitalist society in order to challenge the various crises rejecting the traditional models in order to set the ground for human freedom.On the other hand, since EXPRESSIONISM has a social and cultural perspective on human life, it affects different literary issues especially linguistic and rhetorical aspects. This article attempts to briefly describe the characteristics of the Expressionist school and scrutinize the samples of poems by Persian famous female poets including Parvin Etesami, Forough Farrokhzad, Simin Behbehani, Zhaleh Esfahani, and Taherh Saffarzadeh based on this approach.

Among the many ways of attitude to existence and its interpretation, EXPRESSIONISM must be considered a unique approach. This method, which is non-imitative in nature, does not describe events as they seem. The writers and artists of this school present the superficial forms of events in their minds and offer them like dream interpreter؛ An exciting stream that opposes and pushes against predefined structures. This approach, with its vast capacities, has provided a very good opportunity to show the world inside and outside of human beings. In the meantime, one of the figures who have left poems in line with the principles of this school in the field of poetry is Aisha Arnaout (born 1946), a Syrian-Albanian writer and poet. His poems in two sections of form and content have provided outstanding manifestations of abstract literature. Hence, this article tries to study in a descriptive-analytical way, the linguistic and content constructions of the poems of this contemporary Arabic poet based on the components of EXPRESSIONISM. Among the results of this research, we should mention features such as: "suspension and waiting", "heterogeneous rhythm and beat" and "interrupted metaphors" in the field of language, as well as themes such as "grotesque", "lost identity" and "mental-emotional ejection" which had a high frequency in Arnaout's poems. Among the results of this research, we should mention features such as: "suspension and waiting", "heterogeneous rhythm and beat" and "interrupted metaphors" in the field of language, as well as themes such as "grotesque", "lost identity" and "mental-emotional ejection" which had a high frequency in Arnaout's poems.

In this study, the "splashed glaze" pottery of the early Islamic period of Iran was selected by the purposive sampling method and was compared with the ideas of abstract EXPRESSIONISM and action painting. The main goal is to recognize the aesthetic features of Iranian art in comparison with the ideas of the new art. This paper utilizes the descriptive-analytical method with the comparative approach and answers these questions: 1) what are the common features of selected "splashed glaze potteries" associated with "abstract expressionistic and action painting's ideas"? 2) What are the causes of their similarity and to what extent? The results demonstrate that they are matched significantly, namely between 60% and 72%. Their most similarities are in the indicators of "transformation of work surface into an artistic event, not a place to represent visual elements", "the existence of a general control over the random process of coloring, and not a complete randomization of the final effect, " and "lack of specific narrative". The writers believe that although there are about 1100 years between the time of creation of these potteries and the emergence of abstract EXPRESSIONISM, the main reasons of the similarity between these selected potteries with the ideas of abstract EXPRESSIONISM and action painting are the shared inspiration by artists of both eras (Chinese works of art), similar social and political conditions (despair and insecurity due to war) and identical aesthetic principles (tendency to abstraction).