علی فتح طاهری

In the history of philosophy, the concept of the self has long been a subject of intense debate and scrutiny. Within Kant's critical philosophy, the self holds a significant position and is deemed essential for the very notion of experience. This article aims to clarify Kant's viewpoint on the concept of self. Kant posits the existence of an inner sense faculty, through which he introduces the empirical or phenomenal self, a concept that aligns with Hume's stance on the self. Furthermore, Kant introduces the idea of a noumenal self through the faculty of understanding and apperception, suggesting that this noumenal self is the foundation upon which all our experiences are made possible. Our primary objective is to clarify the distinctions between the two forms of self, which will be succeeded by an assessment of each. Although numerous scholars tend to view Kant's perspective on the self as a negative concept, an alternative viewpoint emerges, proposing a potential positive interpretation of Kant's concept of the self. Subsequently, we present Gallagher's Pattern theory of the self and conduct a comparative analysis between the Kantian self and the components that constitute the self.

Mosques represent Islamic art and identity and have displayed themselves in each geographical region in a way compatible with the culture and identity of that society. The significance of this research lies in its meticulous examination of early mosques within two dis tinct cultural and societal contexts, Iran and China. By inves tigating these mosques' architectural, cultural, and spatial attributes, this s tudy sheds light on the divergent approaches of two communities facing the same religious, social, environmental, and cultural challenges during a comparable his torical period. Despite sharing the same religious foundation and featuring similar spatial arrangements within the mosques, the contras ting cultural affinities reveal the crucial need to comprehend and appreciate the dis tinctive qualities inherent to early mosques in these two dis tinct cultural spheres. This research endeavor is a pioneering exploration toward unraveling the complexities surrounding early mosques, thereby deepening our unders tanding of their his torical and cultural significance in disparate cultural contexts. The research methodology involves a comprehensive review of library sources, articles, and software analysis using Depthmap X. As a result, and mosques have been compared based on the four main dimensions of architecture: spatial, conceptual, and philosophical s tructural features. Iranian mosques demons trate a fusion of Saudi Arabian Islamic architecture and Iranian design, emphasizing entrance connectivity. Chinese mosques, on the other hand, blend Islamic elements with ancient Chinese architectural art, prioritizing courtyard connectivity and integrating environmental elements, resulting in a dis tinctly Asian flavor.