The purpose of the present study is to employ René Girard’ s concept of “ metaphysical desire” in a comparative study of Pinter’ s The Lover and Stoppard’ s The Real Thing. René Girard has investigated the idea of imitative desire in a rather distinguished way. He contends that the nature of desires is neither innate nor autonomous, but rather we borrow them from the others. He argues for the idea that human beings are always looking for stronger mediators to gratify their desires. The imitative desire itself, once satisfied, is not gratified and the search for stronger impulses or mediators always continues in a never-ending process that Gerard refers to as “ metaphysical desire” . The present research intends to look for metaphysical desire in the lives of the characters, wherewith they can examine the role of the mediator in the characters’ lives as well. Since metaphysical desire, as Gerard argues, leads individuals either to perfection or destruction and alienation, the characters are shown to imitate their metaphysical desire leading them to experience destructive consequences and family corruption. Consequently, the characters who have pursued their metaphysical desire on the verge of a negative sideline all fail to enjoy a life they long for, and are subject to alienation and misfortunes within which they constantly experience great pains. The characters also turn into obstacle-addicts who, metamorphosed into masochists and losing their lives for good, find no chances to change life as they long for.

According to Sikhism, metaphysics is the study of being and existence in three major aspects: absolute truth, existing reality, and human knowledge of this reality. The ultimate truth can be comprehended when one achieves true vision (darshan). Otherwise, it cannot be described but can only hint at God's attributes, such as being a creator, possessing will, and having a personality to some extent. In Sikhism, the origin of creation is absolute truth. Before creating the world, God was immersed in thought. By creating the world, God seeks a play (Lila), with the world serving as the stage for human struggle. There can be no other intention behind the creation of the world, as God is full, complete, and absolutely perfect. Due to His independence, He does not pursue any intentions or purposes. In Sikhism, human salvation is not achievable through rational and theoretical arguments because a logical entity obtained through reason, disconnected from divine light, cannot accomplish anything unless one connects to the absolute.

The Abrahamic religions include the three monotheistic religions of Judaism, Christianity, and Islam. All of these religions consider Abraham as their ancestor, and they consider science to be the knowledge of the universe and humanity, which are divine revelations. The framework of science in the Abrahamic religions uses three basic concepts: 1) monotheism (as a fundamental principle, a single and all-encompassing Divine vision) 2) the universe (as a divine creation) 3) science (as an all-encompassing knowledge about the world as the sign of God). The purpose of writing this paper is to find the common principles governing science among Abrahamic religions, using a descriptive-analytical method based on library sources. The results of this research is an intellectual attempt to draw on the commonalities between various Abrahamic religions in the areas of constructive dialogue in the field of globalization, based on revelatory and spiritual teachings, to achieve the unification of the world, which is one of the divine promises and is rooted in the natural foundations of humanity.

Metaphysical debate between realists and anti-realists is here at issue. P. Railton claimed that these debates reduced to explanation. All topics such as IBE, unification of scientific theories, science progress, concept of observation, experimentation and primacy reductionism deal with and depend on explanation.Railton suggests that metaphysical debates on the alleged topics reduced to explanation because it depends on our account (and understanding) of the world and its necessary persistent of phenomena. Since, our perception of facts of worlds come to date which are not neutral and value free, the conflict couldn’t remove. In Railton’s view, very conflict and challenge go head to controversies without any plausible outcome.

According to the common sense, Dazein is the Heidegger's philosophical title on the general concept of man; i. e. man in the true sense. But a closer examination of Heidegger's works in the near future of existence and time shows that he in fact considers a particular type of human being. Thus, Heidegger attempts in various ways to clarify Determinations and existences of Dasein. One of his ways is to examine the distinction that Dasein takes from metaphysics. Dasein has a strong link with metaphysics, which Heidegger explores in detail in his works of those years. He even says that Dazean is the same as metaphysics. Thus, when Dasein is really Dasein that it is in front of metaphysics and its guidance question. On the other hand, Heidegger sees metaphysics as a completely specific and historical phenomenon that has only been realized in the West and not in any other nation or culture. But because the existence of the Dasein is definite to western metaphysics and its history, so Dasein can not be any human. The most important consequence of the current research is that Heidegger, with Dasein, in fact, considers a European man.

In this article, we try to study the philosophical or metaphysical foundations of Islamic art by relying on the main currents of Islamic philosophies such as Peripatetic and philosophies and transcendent wisdom to focus on several key concepts such as the principles of light, the principle of unity and plurality, the principle of imagination. Explain the principle of manifestation, etc. and show that understanding philosophy of art or aesthetics in the general sense of the word in Islamic culture, unlike Western culture, feeds on philosophical, religious and even mystical principles. Mosques as an example of Islamic architecture as a work of great Islamic art throughout history have gathered all four principles in their various forms. The Islamic artist wears his mind and psyche on religious and mystical teachings before engaging in artistic creation. In this article, relying on the sayings of philosophers and mystics such as Suhrawardi or Ibn Arabi or Mulla Sadra, we try to show the elements or rather the above four supernatural principles by quoting the works of these thinkers and commentators of these thinkers that the content of Islamic art is completely spiritual and The boiling of this spiritual matter has been the boiling point of Islamic art throughout its long history.

Having criticized the realstic account of subject, Kant introduced the notion of metaphysical subject in his philosophical framework. In Kant's view, metaphysical subject could make a room for both knowledge and moral law, generally speaking. Wittgenstein utilized metaphysical subject in his semantic theory in Tractatus which sounds Kantian. However, the difference between Kantian idealistic account and Wittgensteinian non-idealistic account towards metaphysical subject leads to the point that it is used in the Tractatus in the minimal sense. However, even this minimal usage of metaphysical subject produces a paradox in Tractatus. The paradox which could show the implausibility of the Tratctatus' philosophical project. This paper tries to elaborate the paradox and show its logical implications.

Contemporary analytic philosophers do not consider ontology a distinct branch of knowledge. For this same reason, they do not see any legitimacy, or even any meaning, in discussing metaphysical realism. The author in this article takes sides with the meaningfulness of an inquiry about metaphysical realism. He takes a soft version of realism as his point of departure. The article points out to some historical backgrounds for the emergence of anti-realism, and suggests that all arguments supporting the idea of meaninglessness of realism are based on anti-realist suppositions, and therefore are self-destructive.