Basator flying rug TRADITION illustrates the strange event of Ali’s space journey on the flying rug, which took place in the presence of some companions of the Prophet, including Abu Bakr and Umar. This journey from Madinah to the Cave of the Sleepers has taken place at the time of the Prophet, peace be upon him and his household, to prove the supremacy of Ali and his authority over others. In all narrations except that of Thaalibi it is reported that the people of the Cave answered the greeting of Ali but refrained from answering the greeting of others. In this article besides offering the transmission chain of theBasat TRADITION, it is shown that the main transmitters of the TRADITION have been Jabir and Anas. Then a full report of the sixteen ways the TRADITION has been transmitted is given. At the end in a library research and on the basis of Shii and Sunni sources all the ways in which the TRADITION has been transmitted, in respect of documents and content, have been evaluated. It is concluded that the possibility of such occurrence is totally accepted but in regard of the reliability of the documents, which makes the theoretical ground of this research, the occurrence of the event itself meets with some doubt. Of course, on the basis of the reliability of the sources the truth of the TRADITION and on the ground of the TRADITION being well-known and accepted by earlier scholars its occurrence may be accepted, though the TRADITION concerning the number of the people and the events that happened throughout the journey is not clear.

In pursuit of identity-oriented demands from society, the movement with roots in the contemporary West has been one of the primary stage directors imposing the official policy of art, especially in academic centers, since the Islamic Revolution. This movement, represented in Iran by Seyed Hossein Nasr, had taken steps to initiate artistic movements before the revolution under the management of Farah Pahlavi's office. After the victory of the revolution, the students and followers of this thought, using the religious and mystical language of the TRADITIONalists, introduced themselves as representatives, claiming the society's demands. They introduced Iran's religion, and in the absence of careful assessment and undervaluation of art by the country's administration, they left a greater impact on the country's art policy compared to its scientific and population size. The determining presence of the adherents of this thought, who are often known as experts and not artists, in the country's political and educational institutions confirms this opinion.According to the TRADITIONalists, the basis of their thought is a set of facts that have an all-encompassing historical and geographical scope. About a century ago, the French philosopher Renégnon created this sect, and then it became a school of theorizing and philosophy of art by Kumaraswamy, a Sri Lankan artist and sage, and Shawan, Lings, Nasr, Palis, etc. The school of TRADITIONalism talks about sacred knowledge and authentic ancient TRADITIONs and points to a supernatural, common, and universal truth in the heart of religions and calls it "immortal wisdom or "eternal wisdom." The method adopted by the school of comparative theology is of the contemporary era, and in the Islamic world, it is connected with Sufism and local mysticism. It is also tied to the mysticism of the Far East, which is different from Abrahamic religions. TRADITIONalists in Iran have theoretical discussion under the title of Islamic art and architecture, and by inventing the terms Islamic art wisdom, religious art, sacred art, and holy art, they have created materials that are poetic, emotional, and far from logical and reasoning, and in certain religious and historical matters, interpretation. They have mixed Islamic art and architecture with self-founded, strange mysteries. Some of the TRADITIONalists became familiar with the form of Islamic art and architecture while traveling to the Arab Maghreb, Egypt, China, and India, relying on the backgrounds they had from Christianity and Judaism, and accepted Islam through Sufi sects. Shawan joined the Shazliyya Tariqat in Algeria. Burckhardt believed in Islam in Morocco, followed the Shazliyyah Tariqah, and joined the TRADITIONalists after meeting Schwan. After familiarizing himself with Eastern teachings and focusing on the East, Guenon deals with the TRADITION, generality, and general view of Hinduism, Christianity, Islam, and Buddhism. In fact, this range of scholars, relying on the philosophy and mysticism of the great religions of the world such as Christianity, Islam, Judaism, Buddhism, Jain, Taoism, and Shinto, consider them to have a common truth and believe in the inner matter shared by religions. It is obvious that the existing TRADITIONs in each of these religions and beliefs have undergone changes and developments, and despite the common points or the common essence, according to the TRADITIONalists (al-hikma al-khalida ), they have gradually gone through tremendous differences. The Islamic Sunnah is different from other Sunnahs according to the text of the Holy Quran and authentic TRADITIONs. Looking positively at the activities of Western TRADITIONalists, not much fault lies with them because they got acquainted with Sufi sects and different sects in other countries, and they also experienced the mysticism of the Far East and Hinduism. In a way, they reached the unity of religions, and from the angle of art, architecture, and sanctity, they have told stories based on the appearance of the arts. But how can it be accepted that Dr. Seyed Hossein Nasr, an Iranian Muslim, philosopher, and mystic, endorses these strange and incomprehensible claims and is a disciple of the sectarian and creator of the Marymiya Tariqat? The continuation of the trend of TRADITIONalist thoughts and opinions affected the artistic circles and universities of art and architecture in Iran, and we are still dealing with this problem. Criticism of his opinions will open a window to knowing the truth of the art and architecture of the Islamic era of Iran and the world and highlight the superiority of logic and reasoning over emotions.

The first trace of the critique of objective truth and the “ present-at-hand” TRADITION can be found in Sufism and Mysticism. Mystics emphasize the outstanding role of uncovering and intuition which implies the desire to leave mediators in order to achieve the truth and reflects their creative approach toward TRADITION, which, while rooted in TRADITION, is seen as revival. They considered the truth of their approach to TRADITION as a Naghd/critique. Naghd, in common terms, is simply translated as the assessment of something. However, in the mystical TRADITION, it is prior to assessment and refers to calling something that is “ ready to hand” existence. Today, the way through this TRADITION is being inquired about and though about is groundless. Groundlessness is the indicator of the dichotomy of TRADITION and modernity, whereas the original foundation through the experience of a moment of "negation" is an abyss/ the nothing foundation. This article will begin with two fundamental theoretical approaches in Western thought to understand the foundations of the mystic approach to TRADITION. The first approach is "Romantic Hermeneutics, Historicism, Fundamentalism, and TRADITIONalism, " which comprehends TRADITION as it has been spent, and the second approach with titles such as "philosophical hermeneutics, historicity and TRADITIONality" considers TRADITION as something present now. This article proves that both TRADITION and modernity adopt the same approach while the second approach implies a different perception of the foundation / beginning, time and existence.

In TRADITIONalism point of view, TRADITION has a relationship with the Truth. TRADITION can determine and manifest as well as truth in proper forms, due to time and place needs of human beings. These proper designations and determinations, however, remain always in relation with primary TRADITION and truth. Religion and revelation are both designations and determinations of the primary Truth. Philosophy (metaphysic), mysticism (tasawut) and theology are the ways of cognate with TRADITION or genuine Truth. Through this knowledge, role of the perfect and Elect Men is the most prominent. TRADITIONs arc able to develop and progress, but they should always accept changes in regards to their original source. Attention to the manifestations of TRADITION makes man (the artist) reflect the TRADITION in his art in a symbolic and allegoric form. These symbols and allegories provide the means of relation and link between human beings and primary TRADITION (Truth).

Usually neglected in the Modem thinking and subject to much controversy and misinterpretation, TRADITION is frequently understood in the limited context of menial human affairs. It however deserves a deeper review in the context of spiritual and supernatural which better explains its role in aesthetics, art and architecture.      

One of the bases for development of an Iranian theory of international relations is the intellectual and practical TRADITIONs found in the course of Iran's history. The ways in which Iranians have perceived and understood world politics, however, have not been monolithic and have changed in the course of time due to particular historical circumstances inside Iran at the regional and international levels. Yet, this article argues that one may see the persistence of some „realist‟ elements in many of these various perceptions. Exploring into these understandings may pave the way for the generation of "Iranian Realism" as an endogenous Iranian theory of international relations based on Iranian culture and historical experiences. It may also shed light on Iran's foreign policy behavior in different periods. The article shows that four main types of Iranian 'realism' can be recognized on the basis of Iranian politicians' attitude and their practice in foreign affairs. They include regional, submissive, pragmatic, and critical/confrontationist realisms.

Is Meinongian dicopulation justified? This is the main problem in this paper and our hypothesis is that Meinongian dicopulaism is counterintuitive. This is despite the rich list of syntactic and semantic features that Meinongian advocates of the double copula strategy attribute to the Meinongian (internal/encoding) mode of predication in contrast with the ordinary mode of predication. That is what we demonstrate in this paper. We argue that neither of the requirement that Meinongian formulas (i. e. those containing the Meinongian mode of predication) must be monadic,nor that they resist lambda abstraction,nor that logical closure governs them,nor that they can be incomplete (or inconsistent) and nor that they are no way contingent, may succeed in discriminating Meinongian from ordinary predications. Nonetheless, dicopulaistic semantics support our intuitive understanding of abstract objects as sets of properties only whence they embrace the counterintuitive conception of multiple denotations,of either copulas or (abstract) objects. Meinongian dicopulaism does not work.

As has been publicly agreed with by the historians of science, Islamic civilization has caused many scientific and technical progresses of our age and been as the flag bearer of scientific movements. The question is: what have been the qualities of the scientific system of Islamic civilization leading to such important and worldly evolutions in the field? The answer lies in developed TRADITION of Muslim scholars for attaining to knowledge; the methods and rules on which they begun to attain to knowledge and the TRADITIONs rooted in the system of education and research in Islamic civilization and still are counted to be valid and variable for progression in knowledge and spreading it. This paper introduces the rules establishing the main stream of scientific TRADITION in Islamic civilization. Some part of the matters of scientific TRADITION may be regarded to be discussed in scientific method in Islamic civilization and leads to disperse and deepen sciences.

Passage de Milanest l’oeuvre de Michel Butor, romancier, philosophe et critique du XXe siecle. Une transition entre le style realiste et l’art plus audacieux du Nouveau Roman, Passage de Milan peut etre lu aisement par un lecteur habitue aux romans realistes. Mais peu a peu, les divergences se devoilent et illustrent bien un nouveau roman avec ses propres caracteristiques, dont la plus importante est la maniere de presenter la realite. Le but que nous visons dans cet article est de verifier dans quelle mesure cette oeuvre releve de la TRADITION realiste et dans quelle mesure elle s’en ecarte. Comme nous le verrons, ce roman, contrairement aux oeuvres realistes, ne designe pas une realite digeree et commentee par l’auteur; il est plein de symboles et de fragments que le lecteur lui-meme doit relier entre eux, pour decouvrir et comprendre la complexite de la realite. L’auteur lui propose seulement des gestes, des paroles et des pensees. English: Passage de Milan is a novel written by Michel Butor, a 20th-century novelist, philosopher and critic. Passage de Milan is a transition between realistic style and New Roman, an audacious art which can be read and understood by a reader typically used to realistic novels; however, differences and distinctions gradually reveal themselves and a new novel with its own distinctive characteristics emerges, the most important being the way reality is presented. This article intends to make a comparison and contrast between this novel and TRADITIONal realistic novels. In this research, it has been shown that unlike realistic works, this novel does not refer to a reality digested and interpreted by the novelist himself; the novel is also depleted with symbols and fragments. It is the reader who relates these pieces and fragments together so that he can perceive and understand the complexity of the reality. The author just suggests a number of gestures, words and ideas.Keywords: description, personage, new Novel, symbol, reality