What is Technology: A Reflection Based on Bhaskar's Ontology

METAFIZIKA International Journal of Philosophy and Interdisciplinary Studies, 2020

Humanities Journal of University of Zakho

Existentialism is one of the philosophical schools of thoughts that can be analyzed in the light of the thoughts and affirmations of poets. This research tries to demonstrate the basic principles of existentialism in Mathnawi of Mem and Zin. Literature is associated with philosophy since literature deals with human condition and essential thoughts of human. Mathnawi of Mem and Zin is one of the works that can be understood philosophically, and this indicates Ahmad Khani's greatness undoubtedly. The aim of this research is understanding and being familiar with existentialism in Mem and Zin, which is one of the divine type, and that it can clarify how views of Khani conforms the basic philosophical principles of this school. In the epic of Mem and Zin, many elements of existentialism can be found such as individuality, faith, freedom, anxiety, rationality and concept of transcendence and the most important one which is finding the spiritual freedom. This research is the library research since it is based on content analysis. The research findings indicate the role and the importance of thoughts and decisions of human in achieving excellence and understanding the concepts of choiceness and freedom, apprehension, communicating and being in contact with others, faith, rationalism and transcendence. The epic of Mem and Zin can be considered as one of the existentialist works because lots of elements of existentialism can be found in the epic. The characters especially the protagonist, themes, and symbols that can be found in this epic are completely existential in color.

Alzahra University, 2020

Critical discourse analysis is a new branch of discourse analysis that addresses the cause and justification of contents and, in other words, the disclosure of information. Critical discourse analysis reveals the relationship among language, power and ideology through discovering discursive structures or features. Analyzing the discursive features of texts (stamps), the author intends to link them to the methods of representation of actors to reach hidden messages in texts and show that the methods of representation of actors are different, depending on stamp producers’ attitudes, and that stamps are directional. Text production, including image, seems to be a discourse, a social act. The effective use of language means that ideological constructions are indirectly presented to listeners through language. To realize this, language and discourse should include levels and layers. Language and discourse include ideology and the relations of power and domination at lower levels, and include discourse structures and events at higher levels. The present research aims to discover the hidden layers of stamp meanings within the framework of critical discourse analysis. Analyzing visual and written texts, the author explores how stamps portray language as evident, natural and inevitable culture and examine its different discourse, social and cultural functions. According to Fairclough (1989), critical discourse analysis represents communications kept hidden from the eyes of people in society. In critical discourse analysis, there is a tendency towards image analysis, as if images are linguistic texts. Van Leeuwen (1996) tried to create a theory and method to analyze multi-modal texts, which use different semiotic systems like language, image, or voice. Using elements, symbols and images, the discourse system of stamps is able to reproduce cultural and national identities in line with governments’ political, cultural, and social beliefs, and stamps use both visual and written layers to represent historical memory for one’s audiences. In fact, a stamp is a record of an event or presence that always persists over time and introduces a trace of represented memory of history. In the research, utilizing the Van Leeuwen pattern and analyzing stamps of the 50’s, the author intends to show that the writing style and ideology of text (stamp) designers and producers are represented within the discursive structures, and both interact closely. The main research questions include: • How the discourse system of stamps can represent national identity process based on cultural and historical elements? • What is the relationship between structural and visual elements and hidden power? The research methodology is from structure to content, which is reached by half a look at social semiotic image analysis from the point view of Kress and Van Leeuwen. In the research, for the analysis Van Leeuwen’s socio-semantic pattern is used. This pattern utilizes two main mechanisms, which are exclusion and inclusion, to represent social actors in a socio-semantic approach favorable by Van Leeuwen. In the research, purposive sampling was used. Therefore, 78 samples (39 stamps before the Revolution and 39 stamps after the Revolution) from stamps of the 50’s were analyzed by Van Leeuwen’s socio-semantic features qualitatively and quantitatively. It should be noted that the results obtained are generalized within the seventy-eight selected stamps, but not in general population, because giving a definitive answer to the research questions requires a very large sample and further research. In order to further clarify the first question, we checked the selected stamps of the 50s comparatively, based on the Van Leeuwen pattern from a socio-semantic perspective (according to discursive features), and found that the choice of images used in the stamps greatly depends on the rule based on which stamps had been published and are tools of transferring information from one generation to another. This is because using elements, symbols and images, the discourse system of stamps is capable of reproducing cultural and national identities in line with the political, cultural and social beliefs of governments. The majority of political, social, and cultural thoughts hidden in the heart of images are transferred through suppression and backgrounding features to their audience. Discourse features can be linguistic or socio-semantic, but by examining the images and the results obtained, it can be said that all the socio-semantic features do not necessarily have formal linguistic representations. An important point on socio-semantic features is that efficiency of socio-semantic features should be more in representing different discourse layers and in revealing the hidden meaning of the text. With regard to the second question, it can be said that the relationship between structural and visual elements in the stamp with power discourse varies according to statemen’s state functions, and the ideology governing the minds of the statesmen is reflected in the texts (stamps) by using specific discursive features, such as personalization, passivation, backgrounding, suppression, and other Van Leeuwen’s discursive features. In fact, there is a bilateral relationship between the discursive features and ideology. For this purpose, looking at the total findings from the statistical analyses, it has been found that some discursive features, such as backgrounding, suppression, collectivation, utterance autonomization, indetermination, passivation, differentiation and instrumentalization, have a higher frequency in the texts; while some socio-semantic features, such as individualization, functionalization, activation, association, personalization, nomination, indentification and spatialization, have a lower frequency. The motivation for the present research is to raise awareness and strengthen critical thinking, since one can consider critical discourse analysis as one of the most useful tools to examine texts in order to track the ideologies dominated on them. Van Leeuwen’s pattern of social actors is an effective pattern to do research in this area. In the authors’ view, such research can be used in the following organizations and institutions: The Organization for Educational Research and Planning of the Ministry of Education, International Relations of the Ministry of Foreign Affairs, Deputy for Information and News Unit of IRIB, Deputy for Research of Universities (by holding conferences) (Disclosure: Raising university academic degree and rank, print and publication of educational book; Suppression: Income for university), Iranian Psychological Association, etc.

Kimiya-ye-Honar کیمیای هنر , 2017

In Kant’ viewpoint, beauty is neither objective nor does it rely on concepts, but it is the subject that establishes the judgment of aesthetic in object of art. Kant believes that the feeling of pleasure in judgment of taste arises from reflective judgment of the subject of judgment. He argues that art is distinguished form nature, science and craft, and divides it into mechanical art, pleasant art and beautiful art. Pleasant art is a kind of art whose purpose is just pleasure, while the criteria of judgment in beautiful art is reflective judgment. The work of beautiful art is the product of author’s genius through form. From the perspective of ideas Kant divides fine arts into three kinds: art of speech, visual art (Including plastic art and painting) and art of the beautiful play of sensations. According to his description of certain use of the object as a condition that limits the aesthetical ideas, it seems that handicrafts are sub- architecture, and should be regarded as plastic art. But given the wide range of handicraft products, from mass production to unique objects with aesthetical features, and from useful to the decorative, they cannot all be equally judged as craft. This research seeks to analyze aesthetically the range of crafts based on the concepts explained in “Critique of Judgment”. This this way it distinguishes the field of art and non-art in the productions of handicraft and introduces areas of pleasant art and fine art in objects of handicraft. به نظر «کانت» زیبایی امری عینی و متکی بر مفاهیم نیست، بلکه ذهن واضع حکم زیباشناختی در ابژۀ هنر است. احساس رضایتمندی در حکم ذوقی را ناشی از قضاوت تأملی به واسطه ذهن قضاوت‌کننده می‌داند. او هنر را از طبیعت، علم و پیشه‌وری متمایز دانسته و هنرها را به مکانیکی، مطبوع و زیبا تقسیم می‌کند. به زعم کانت هنرمطبوع هنری است که غایت آن صرفا لذت است، در حالی که معیار قضاوت در هنر زیبا قوه حاکمه تأملی بوده و اثر محصول نبوغ خالق به مدد صورت یا فرم است. کانت هنرهای زیبا را از منظر بیان ایده‌ها به سه قسم تقسیم می‌کند : هنرهای سخنوری، هنرهای تجسمی (شامل هنرپلاستیک و هنر نقاشی) و هنر زیبای تأثرات حسی. کانت به طور واضح صنایع‌دستی را در طبقه بندی خود جای نداده است اما با توضیحاتی که در مورد استفاده معین از شیء به مثابه شرط محدودکننده ایده‌های زیباشناختی ارائه می‌دهد، بنظر می‌رسد که می‌توان صنایع‌دستی را اگر تابع معیارهای زیبایی‌شناسی باشد، زیر مجموعۀ معماری و در گروه هنر پلاستیک قرار دارد. اما با توجه به طیف گستردۀ تولیدات صنایع‌دستی از تولید انبوه گرفته تا اشیاء منحصر به فرد با ویژگی‌های زیبایی‌شناختی، و از کاربردی گرفته تا تزیینی، نمی‌توان همۀ آثار صنایع دستی را به طور یکسان مورد قضاوت قرار داد. پژوهش حاضر می‌کوشد تا طیف صنایع‌دستی را از جنبۀ زیبایی‌شناختی تحلیل کند. بدین وسیله حیطه «نقد قوه حکم» بر اساس مفاهیم ذکر شده در کتاب هنر و غیرهنر را در صنایع‌دستی متمایز کرده، مرزهای هنر مطبوع و هنر زیبا در آن را معرفی می‌کند.

سپهر سیاست, 2019

The aim of this research is to study Radical theory ideals in Global political economy with emphasis on development. Thus, the main research question is the nature and meaning of development in the various Radicalism approaches including (such as) studies Colonialism and Imperialism, Dependency theory, Neocolonialism, Globalization, and the evolution of development concept in each theories. As his research is done in descriptive-analytic method and by desk research, the findings show that all theories has been presented (raised) permanent connection (relation) and links between dynamics of Capitalism system and its functions and the concept of development and underdevelopment in different national and international levels, and the inherent characteristics of capitalist system including exploitation, inequality, and inhuman relations has described in all theories. While understanding Radical' ideals of Radicalism theory in global political economy or international relationships ...