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In the context of comparative and intercultural philosophy the approach and engagement of one philosopher with another, is a very basic issue. With regard to this, I want to narrate Farabi’s special engagement with the Meno and Gorgias dialogues of Plato. His engagement can be named hermeneutic dialectical reading-here hermeneutic means the relation of Farabi with the Meno and Gorgias texts and also inside these two texts there are diverse and different levels, layers and mediations (though this is also true so far as my self as a researcher); dialectical means his reading is in the from of synoptic question (s) and answer; and reading means conversational construction of meaning in relation to the text and context. Farabi’s hermeneutic dialectical reading of the Meno and Grgias has these characteristics: he propounds these two dialogues thematically or in accordance whit their subject matter as two parts or orders in the whole of the Plato philosophy. Therefore for understanding these dialogues we have to put them in a broader context that heve interconnections whit the whole philosophy. Basides, the Gorgias is connected with or exists in a set of dialogues that collectively make a network that too has logical relation with the Meno. He says that plato philosophy as a whole begins with a search about human perfection as the first order that is discussed in Alcibiades I and then for getting this perfection we need knowledge that Theaetetus dialogue discusses thematically as the second order. After searching about eudaimonia in the Philebus and knowledge of eudaimonia in Protagoras respectively, Plato further searches about the possibility and the quality and how-ness of getting this special knowledge in the Meno. Farabi says that in the Meno (means fixing) dialogue as the fifth order or level of Plato philosophy he searches about this matter i.e. getting of this knowledge and the method if the answer is positive. Plato in this dialogue says that this knowledge is possible by means of Sana’t / art /τεχνη. Therefore the next step is searching for these arts that are well-known among citizens of different cities and civilities. Farabi says that for Plato these arts are six arts according to six dialogues-that begins with theological syllogism art in the Euthyphro and continues by language, poetics, rhetoric, sophistics and ends by art of dialectics in the Parmenides. According to Farabi Gorgias (means service) is after Ion dialogue about poetics, before the Sophist that is about sophistics. In this dialogue Plato searches two problem, does this art give us knowledge or only the method, and how much this art is knowledge?

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With regard to the essential role and function of topos / place (in comparison with time) in the thinking, acting and speaking of the ancient individuals, it is possible to analyze the inscribed speeches of ancient Persian kings according to their conceptions of topos or place. For reaching to this aim Darius' inscriptions in Behistun (DB) will be chosen and they will be analyzed within an appropriate heuristically Aristotle framework.

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Here I will consider the Greek word “Dikaiosune” on the basis of the rather short etymological exploration by one of Plato’s other called Heraclitus. Apart from un-ended discussions and controversies about the nature and quality of etymological surveys of Plato’s Socrates in Cratylus, it is worthwhile to figure out and see how a figure such as Heraclitus wants to demonstrate and stablish the working and influence of “Dikaiosune” in the macro and micro universes otherwise it is an ordinary and petty notion. Plato’s other mentions (Cratylus 412D – 413D) that where everything is in the flux Dikaiosune should function as an uppermost penetrating principle that can penetrate all moving and changing things in order to make a linkage and binding among all of them.