نادیا مفتونی

The law legitimate power. Over the 20th century, constitutions have been an essential part of the dynamic. ‘How can be the Iranian constitution assessed over the long term?’ ‘How do people evaluate their legitimacy?’ ‘Does the issue matter at all for theoreticians at the leading edge of science?’ Iranian revolutionary constitutionalism has an essential role in Bruce Arnold Ackerman's thesis of contemporary legitimacy. Avoiding the pitfalls of Weber's thesis, which accounts for legality to tradition, charisma, and bureaucratic rationality, Ackerman holds that modern notions over the legitimacy based on constitutions. This paper tends to analyze the position of the Iranian revolutionary structure in the mentioned theory. The first scenario in Ackerman's trichotomy is "Revolutionary Constitutionalism," whereas "the insider-establishment providing modest outsiders with strategic concessions" constitutes the second, followed by a third "elite construction constitutionalism." As an example of the first scenario, he mentions the constitution of the Islamic Republic of Iran as well as France, Italy, India, and South Africa. While Mao's and Stalin's periods regarded as two negative examples of the thesis, Iranian revolutionary constitutionalism represents positive revolutionary constitutionalism and democratic government.

Abu Nasr Farabi focuses on influence of the music on emotions and emotional problems including extreme emotions and moods. But how effective is music in changing a specific emotional issue? This essay reports what is probably the first scientific study of the effect of music on a precise extreme mood. Using a randomized experiment, we measure how a music affects sexism. More specifically, the experiment measures the extent to which a piece of music that we have created weakens the belief among some Muslims that women are not as suitable as men for positions of chairmanship. We find that the music reduces sexism by 22.48 percent, compared to a control treatment that presents the same argument and story verbally. Results, moreover, indicate that prejudice against women is not an inherent feature of Islam and is rather a function of the descriptive beliefs that prevail in some Islamic societies regarding women’s capabilities.

شیخ شهاب الدین سهروردی موسس حکمت اشراق، در رساله های متعدد داستانی، دیدگاه های خویش را به زبان هنر، رمز و نماد بیان کرده است. لذا او را هنر-دانشمند می نامیم. بررسی این نمادسازی ها نشان می دهد که سهروردی در زبان سمبلیک، روی آوردی سینوی دارد. این روی آورد در سه مساله اساسی فلسفی قابل بررسی است: حواس ادراکی، مساله صدور، و کیهان شناسی. در مساله ادراکات، ده حس ظاهری و باطنی توسط ده برج، ده بند، ده گور، ده پرنده، ده موکل، پنج حجره و پنج دروازه تمثیل شده اند. در مساله صدور، عقول عشره با ده پیر خوب سیما، و عقل دهم با نماد پدر، استاد و عقل سرخ تجسم شده اند. در مساله کیهان شناسی، افلاک توسط نه طبقه و رکوه یازده لایه، یازده کوه، پسران و آسیاها تصویر شده اند. حواس ادراکی دهگانه، عقول عشره و افلاک نهگانه و یازده گانه، متفاوت با آرای سهروردی در حکمت اشراق و منطبق بر آرای شیخ الرییس بوعلی سینا است.

Economic punishments and sanctions have been used against the Islamic Revolution of Iran as well as some other countries. But their efficacy is usually in dispute among politicians and economists. Current research reports the results of a randomized experiment that seeks to identify the cause of the failure of broad political punishments and sanctions. Most sanctions and political punishments are ultimately employed as a psychological-economic device. They are meant to adversely affect the opinion of the people of a country, thereby putting pressure on the government to change course. We propose and empirically test the hypothesis that a reduction of welfare has a different effect when it is attributed to an out-group versus an in-group agent. We find that when economic failure is believed to have been brought about by an outsider, it actually solidifies the position of the leader. There is, moreover, no statistically significant difference in the reactions across sexes. The study draws on insights from the sociology of group identity to propose an answer to an old question in political economy. There is, moreover, no statistically significant difference in the reactions across sexes. The study draws on insights from the sociology of group identity to propose an answer to an old question in political economy.

Ibn Tufail as a scientist as well as an artist exposes the issues of human anatomy, autopsy, and vivisection and, thereby, could be regarded as a SciArtist. SciArt might be defined as a reciprocal relation between art and science. Followings are the kinds of these interactions: artistically-inclined scientific activities,science-minded artistic activities, and intertwined scientific and artistic activities. In their fictional treatises, Avicenna, Ibn Tufail, and Suhrawardi are traditional avatars of SciArt. This paper frames an account of SciArt, suggesting in detail Ibn Tufail’s work as a prototypical example, while Avicenna and Suhrawardi go beyond the scope of this paper. An instant of intertwined scientific and artistic activities strongly captivates the attentions to Ibn Tufail, describing human anatomy, autopsy, and vivisection in his Treatiseof Hay Ibn Yaqzan. Recognized as the first philosophical story, Hay Ibn Yaqzan depicts the whole philosophy of Ibn Tufail by the story of an autodidactic feral child a gazelle raised whom in an island in the Indian Ocean.

Fārābī discusses art in two levels: art as it is, and art as it should be or the utopian art. Considering art as it is includes desirable and undesirable arts. But the utopian art or art as the working of the utopian artist consists only of desirable ones. When describing the desirable art, Fārābī focuses on bringing goodness and happiness into imagination and moderating the feelings. Undesirable and wicked arts are just on the opposite side of desirable ones. They seek to corrupt thoughts and tend to immoderate sensual qualities and moods. In Fārābī's view, people understand the intelligible truths and meanings through imagination. Furthermore, the arousal of people’s feelings and emotions often originates from the imagination and the imaginary forms. The ultimate goal of the utopia is that the public achieve the intelligible happiness. Given that the public, based on their nature or habit, are not able to perceive the intelligible truths, the intelligible happiness should be transferred to their imagination. The utopian artist is able to embody the intelligible happiness using sensory and imaginary forms and he/she brings the intelligible happiness close to people's minds through their imagination.

Considered the second face of Illumination philosophy after the Shaykh al-Ishraq Suhrawardi (1154-1191), Muhammad Ibn Mahmud Shams al-Din al-Shahrazuri (d. after 1288), in most part, hold fast to Suhrawardi’s illuminationist doctrines. As a case study on celestial bodies, the allegiance may well be at question level.The nine celestial spheres and sublunary world held managed by ten separated intelligences. Suhrawardi depicted the celestial spheres in his allegorical works. Suhrawardi usually speaks of eleven symbols, for instance, eleven mountains in “The Red Intellect” and the eleven layers of a basin in “The Sound of Gabriel’s Wing”. But the eleven celestial bodies, including ether and zamharir rule out Divine Pedestal (al-kursi) and Divine Throne (al ’arsh) of Muhyiddin al-Andalusi. Surprisingly, in his mystic work called Kitab al-Rumuz wa-l-Amthal al-Lahutiyya fil-Anwar al-Mujarradat al-Malakutiyya, Shams al-Din al-Shahrazuri nor except in passing has considered the celestial bodies. In al-Rumuz of Shahrazuri, the number of celestial beings has not been mentioned. Speaking of Divine Pedestal (al-kursi) and Divine Throne (al ’arsh) of Ibn Arabi, Shahrazuri does not consider zamharir and ether.

Does it sound plausible to obtain a strategy for global peace in Farabi’s political philosophy? Put another way, could we procure a common language leading to peace among all cultures and religions, according to Farabi? Farabi’s utopia (al-madīnat al-fāḍila), literally meaning ‘the excellent state’, consists of five levels. On the first level stands the philosopher (fīlsūf) or the prophet (nabī). The second level includes poets (shuʿarā), music composers (mulaḥḥinūn), writers (kuttāb) and the likes. Farabi strongly believes in the power of imagination (khīyāl) and that most people are under the influence of their imaginative faculty (al-quwwat al-mutakhayyila). This faculty has an important outcome which influences his view on religion (milla), prophet, and their relation with the public (jumhūr): imagination, in his view, is the most powerful tool of influencing the public. Regarding this principle, it could be concluded that there is a shared function between the poet and the prophet. Farabian theory of peace may well be identified, based on the shared function between the poet and the prophet. In other words, for Farabi rational truth and rational happiness is fixed and one, having only one denotation, while its connotations, that is, sensory images and imagery forms are more than one—possibly many more. That being the case, various and sundry cultures and religions might well have different ways to pursue the same knowledge, truth, and contentment.