comparative studies

Adopting a hermeneutic approach and horizontal and vertical interpretation methods, this study primarily explores the metaphysical concept of love-induced mystic intoxication in the Iranian polymath Mullā Muḥsin Fayḍ Kāshānī’s mystic poetry. Secondarily, it discusses the implications of mystic intoxication in the meaning of life. Furthermore, the paper briefly positions Fayḍ Kāshānī’s account in the contemporary categories of the meaning of life: supernaturalism, naturalism, and nihilism. Additionally, elucidating the perspectives of the contemporary philosopher John Cottingham, the paper examines Kāshānī’s view through Cottingham’s philosophy. Central to Kāshānī’s poetry, ignited by divine love, the spiritual seeker transcendends their self, getting absorbed into the Divine to the point where they become unaware of their self. This epistemic unawareness is mastī (intoxication) or bīkhudī (selflessness)—which, for Kāshānī, has profound implications on life’s meaning. Unlike the “extreme God-centric” view—which situates the purpose of life solely in fulfilling God’s purpose—Kāshānī’s “moderate God-soul-centric supernaturalist” view recognizes that while divine love, intoxication, and knowledge infuse more profound depth to the meaning of life, other aspects also add to the meaning in life—like the simpler forms of piety and everyday existence. A framework in which morality is instrumental. Similarly, for Cottingham, life has value and meaning beyond solely fulfilling God’s purpose. Nevertheless, while basic pleasures and desires might independently exist and have meaning, higher elements like moral virtue, crucial to life’s meaning, are contingent on God’s purpose.

Structural design extends beyond merely creating forms to withstand forces; it incorporates various technical and non-technical elements within architectural design. The true value of structural knowledge emerges during the design process when these elements are thoroughly understood. Achieving this understanding necessitates the provision of diverse types of structural knowledge capable of informing design and analysis. Additionally, by exploring various structural design methodologies, two principal types of cognition — "geometric" and "numerical" — can significantly help designers navigate the complex requirements of structural design. This research aims to investigate the different forms of structured knowledge relevant to architectural design, ultimately addressing the central question of how geometric and numerical comprehension of structures contributes to the architectural design process. The research employs a descriptive-analytical method with a comparative study approach. It begins by defining and detailing the characteristics of geometric and numerical cognition within the design framework, subsequently elucidating their interrelationship in architectural design. Findings suggest that geometric and numerical cognitions of structures, articulated through distinct languages, correspond to various roles in designing mechanical and spatial aspects, as well as different levels of structural comprehension at various design stages. Geometric cognition, due to its linguistic proximity to the design step, has the capability to examine and apply structural knowledge from the initial stages of form design to its actual construction phase. On the other hand, numerical cognition primarily focuses on the detailed examination of the mechanical and load-bearing aspects of the structure in its analytical step.

Extensive interest in the field of comparative literary studies emerged in the early decades of the nineteenth century with the main focus of comparing similarities in perspectives and variations in beliefs which congregate or rupture world views, representing human thought. It is the objective of the present study to analyze and compare the components which yield to the New Historical analysis of two literary pieces to discover the existing nuances related to the artists’ socio-cultural milieu and to illustrate how this mirrors personality development in their poetry. For this means, two poems have been chosen: “I Am a Black Woman” from Mari Evans, a contemporary African-American poetess, and “Farewell” from Forough Farrokhzad, the influential, modernist Iranian artist. Results will indicate how the views of the two poets differ from one another in regard to the relationship between identity formation and the role that episteme plays in this process. Inevitably, there will be concern about the influence of zeitgeist in imagery production since literary work is the doings of historical-socio-cultural discourses as much as creative imagination.