The significance of the concept of the subject and the belief in the superiority of human reason have been called into question during various historical periods. For example, in the late 1960s and 1970s in the United States with the advent of power relations and theories by such individuals as Michel Foucault, who reduced the central role of the subject in the interest of discourse, we observe the rise of civil movements that call for the freedom of minorities and the elimination of powerbased relations. At the same time, the cinema also witnessed the production of films criticizing the violent consequences of structures, including the violent effects of cinema itself on the elimination of the concept of the subject. In this paper, we explore the reaction of the subject to this structural violence in two American films of the 1970s, “A Clockwork Orange” (1971) and “Apocalypse Now” (1979), using a descriptive-analytical method. The hypothesis that the self-destruction of the main characters of both films is a reaction intended to regain the concept of the subject and its effective and central power is confirmed as a result of this research.

Monroe Beardsley describes the features of artwork that provokes the aesthetic experience which include: unity, complexity and intensity. These features can be pursued in deadpan photography as the value of art, because the photographer’s feeling, when taking a photo, is not the key to understanding the meaning of the image. The deadpan genre in photography is a kind of unconventional photography that photographer has an interested view in it, but at the same time they are very smart and intelligent. Gursky’s pictures are a prototype of this genre. These photos in criticism can be interpreted as a good example of this criticism model of Beardsley’s view. The purpose of this research is to introduce a trend of new criticism and to analyze it with the art of photography that most audiences expect to be informed and represented with specific intentions and goals. The method of research is to collect data from the way library study and the internet search, then describe and analyze them in accordance with Gursky’s the selected works as a case study.

Merleau-Ponty borrows “being-in-the-world” from Heidegger but is not passive in the face Heideger’s thoughts. He uses the subject of being-in-the-world to explain perception and embodiment. Heidegger’s Dasein and the embodiment subject of Merleau-Ponty are thrown into the world. This means that the world is not equal to the object of human thought, and man is thrown into the world before contemplation and reason, and understands the world directly. Artists reveal the world through being-in-the-world and physical action. To Cézanne’s paintings, the intersection of Heidegger and Merleau-Ponty’s thought is for pre-rational thought, because painting is not separate from the world. In this article, an attempt has been made to consider the similarities and differences in the world-existence of Heidegger and Merleau-Ponty through attention to Cézanne’s paintings. The results of this study shows that Merleau-Ponty has a conception of being-in-the-world and, consequently, a bodily being, which in some cases it contradicts Heidegger’s understanding, but both philosophers confirm Cezanne’s the role of works in the phenomenon of the world.

Environmental aesthetics includes some features of natural and artificial beauty which, apart from its importance as one of subfields of philosophy, can play a role in reforming and upgrading of human relation with nature and thus this can have constructive influences on environmental ethics. This is one of the possibilities of philosophy, and also this is a way to show more attention to the various aspects of the vital and cultural of aesthetics and avoid limiting aesthetics to art. This show that the category of beauty apart from pleasure can enhance vital value in life of human, also, can be translation some Kant’s view on relationship between beauty and moral good. In this qualitative article, we describe and analyze the opinion of experts in this field. Data has been extracted through library study and internet search. The findings confirm the effect of aesthetic appreciation on human ethics and behavior. Accordingly, it is necessary to pay attention the philosophy of natural beauty. In this analysis, also, is mentioned to the role of nature documentary films.
 

In the 20th century, various artistic and literary theorists proposed the idea that meaning is indeterminate. It has also been suggested that different historical, economic, and geographical contexts can produce different meanings from a single text. These theories do not only mean abandoning the process of meaning production but also increase the need to consider the factors of semantic pluralism. This article examines the role of geography and history in shaping the meaning of subculture architecture by analyzing Christian residential buildings in Spurghan village, Urmia city. The research method is descriptive and analytical, and its general approach is inductive. The study shows that during the construction stage, subculture architecture buildings located near minority homes tend to use more elements of minority architecture. Additionally, if the minority culture has a longer history in the land used by subculture, architectural elements of minority culture will be more prominent in subculture buildings both quantitatively and qualitatively. In the interpretation stage of subculture architectural buildings, historical developments have a significant influence on interpretation differences.