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ABSTRACTS

Contemplation on Ibn Sina’s “ Fann-e-

 She’r” (Poetics)

Hadi Rabiei

Aristotle’s  Poetics  is one of the most prominent

works for researchers in philosophy of art, liter -

ary criticism and poetics studies. In Islamic world

there have been numerous translations and sum-

marizations of and commentaries on this book, but

it could be said that the most reliable one among

them is that of Ibn Sina. In this article, while com-

 paring chapters of Ibn Sina’s writing with those of

Aristotle’s and explaining Ibn Sina’s added com-

mentaries to the Poetics, it would be domenstrated

that his translation of Aristotle’s book under the ti-

tle of “ Fann-e-Sh’er ” is not a literal one. Ibn Sina’s

aim of writing “ Fann-e-She’r ” is, on the one hand,

to present a complete knowledgeable explanation

of Poetics contents with clarifying examples and,

on the other hand, to put forth the book as a model

for newer scientic and philosophical discussions

about two realms of poetry, namely “ poetry in it-

 self ” and “contemporary poetry”. This issue can

still be of great importance to researchers of phi-

losophy of art and literature.

Key words:  Fann-e-She’r , Aristotle, Ibn Sina, mi-

mesis, poetry

Form and Content in Plotinus Perspectives

on Art and Artwork 

Fatimeh Raahil Ghavami

The climax of this view is represented in Neo-Pla-

tonism that if the world is beautiful it is because

it reects the image of Soul. Neo-Platonists don’t

regard themselves as establishers of a new philoso-

 phy (though they establish one), but they believe

themselves as the redeemers of Plato’s philoso-

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5

 phy from those aberrations burden over it during

the time. Plotinus, as the last major philosopher

of ancient epoch, historically stands at a timeline

which separates ancient world from middle ages.

His contemplations on the realm of philosophy and

art, especially those on the concept of beauty, have

 been among the most inuential views. In this ar -

ticle, according to what Plotinus has proposed, the

semantic roots of “form” and “content” would be

explored next to their relationship and importance.

The author tries to nd the answers to these ques-

tions: what is Plotinus basic world view and what

 basic principles could be found in it? How does he

dene beauty, art and artwork and what is their sta-

tus in his world view? After exploring his idea, it

will be found that in Plotinus’s view, being means

 beauty and beauty means being; form means beau-

ty and beauty means form; God means beauty,

good means beauty, love means beauty and beauty

means love. According to this denition, Ploti-

nus regarded everything and every concept in this

world to be lled with form (beauty/love). Form,

as the basic element of being and existence, is an“image of content” and artist, as the creator of the

form, produces his work not by imitating second-

hand versions of this worldly paradigms, but by

copying the original one (ideas). Another conclu-

sion that could be taken from this article is that form

has relationship with abstraction and abstraction

 painting has relationship with the world of ideas.

Key words: Plotinus, form, content, abstraction,

 beauty, art

History of Aesthetics in Martin Heidegger’s

Narration

Ahmad Rahmanian

According to the interpretation which is based on

Being and Truth derived from Heidegger’s nar-

ration of history of Aesthetics, for the Greek, Art

was a way to generate, to disclose, the beings;

therefore, it was a way for the establishment of the

truth. So the status of art was well-dened and the

need to it was inevitable. In Plato’s thought – by

his own conception of art and generation [poiesis]

on the basis of the theory of Idea – art lost his early

relation to truth, and then it was to decide on its

status in the human life. This characterizes the be-

ginning of Aesthetics. Moreover, Plato’s thought

as the origin of Aesthetics has the elements char-

acterized as the basic elements of Aesthetics; it

means the entrance of Beauty to the denition of

art and divergence among beauty and truth. During

modern age and the emergence of subjectivism the

divergence among the beautiful, the true, and the

good had been completed and the artwork turned

to an object of aisthesis. Therefore, art as the role

of creating the beautiful and the aesthetic pleasure

couldn’t have essential role in human life. This is

the event characterized as the end of art in Hegel’s

Aesthetics. However, The last phases of the histo-ry of Aesthetics is characterized by Nietzsche and

Wagner’s attempts in order to make restitution for

art’s necessity, though, Heidegger believes, these

attempts couldn’t be successful.

Key words:  aesthetics, art, being, truth, beauty,

the end of art

Borders of Art Criticism and Philosophy of

Art in the Thought of Arthur Danto

Muhammad Reza Sharifzadeh

Danto’s philosophical approach determines his

methodical and theoretical discipline in philoso-

 phy of art and aesthetics. To start understanding

his theories and philosophical thoughts, it is better

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