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The subject of ethics and its principles (philosophy of ethics) is of particular importance. Ethics with Two Other Fields of Practical Wisdom (Politics and Education) for some reason it was out of the question, and it was pushed to the field of theologians and limited to the topics of prophecy and Imamate. In the modern age, the issues of moral philosophy have been at the center of philosophical issues, muslim scholars have sought to consolidate moral principles. There was three streams: Tabatabaei (a Creditable Perceptions), Motahhari (Rational good (Hosn) and evil (Ghobh) and transcendental ego), Sadr (a social approach to ethics). In this article, meanwhile refer to the aforementioned history, we introduce and analysis Sadr's perspective to ethics. Sadr is a thinker who, while familiar with Islamic philosophy, has never been confined to it. He went to solve social problems, including the foundations of ethics, to the Quran and Sunnah with free approach, and he laid a divine-social basis (public trust) for ethics.

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Aristotle's discussions about Tuche (Τύχη) or fortune have obvious contradictions in two domains of ontology and axiology. In the domain of ontology, he has testified to the existence of fortune as a cause by accident- a cause by accident for an event which has occurred out of a choice based on thought and for a given intention. Aristotle believes that fortune-based affairs are subjects of intention and intellection which emerge from those agents who can take volitional actions. At the same time, he introduced fortune as an anti-rule and instable affair with indeterminate and purposeless causes. He accepted the existence of fortune even in the domain of the actions related to Techne and human happiness. However, he does not attach any value to it in axiology and declares it to be a cause by accident that comes after nature and intellect, even believing that there is no knowledge for it. Moreover, it is valueless in the domain of the action related to human happiness.

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Orexis or desire in Aristotle’s point of view is divided into rational and irrational desires. Rational desire includes Boulêsis while irrational desire includes Epithumia (appetite) and Thumos (passion). The study of Aristotle’s ideas shows that rational desire is different from other types of desire from different aspects. Firstly, rational desire as compared to the appetite and passion belongs to the rational part of the soul and thus is exclusively for human being whereas appetite and passion exist in animals too. Secondly, rational desire is concerned with goals which are realized through rational deliberation and such goals are good from the point of view of the agent instead of being merely pleasant and pleasurable. Thirdly, rational desire is engaged with the identification of truth and also contrary to the appetite and passion is a future-oriented desire. Finally, the striking feature of rational desire is its being an origin for moral actions; because the issue of rational desire is a rational goal; something from which the animals are deprived.

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In Nicomachean ethics, Aristotle divides the soul into two fundamental parts, the knowing part and the calculating part, the virtue of the first part is theoretical wisdom (Sophia) and the virtue of the second part is practical wisdom (Phronesis). This distinction is based on the ontological distinction between becoming and stability because the subject of practical wisdom is the realm of changeable affairs and the subject of theoretical wisdom is eternal affairs. In this research, we will first show that the intuitive intellect or Nous is the connecting factor of these two realms: Nous receives the ultimate principles from both sides, in the framework of theoretical knowledge, Nous knows the most general concepts of eternity and in the framework of Practical wisdom receives the partial individual. We will also argue that practical wisdom is the agent of realization of theoretical wisdom: Phronesis is the power of receiving the highest good, that is, the life according to the Sophia. The interpretation of the relationship between Phronesis and Sophia as a “necessary – end” suggests a way out of two conflicting interpretations of Aristotle’s ethics- the rationalist and holistic interpretation of happiness – which we will address.

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Surveying the problem of emanation in Farabi's view, has some difficulties like that does for Farabi this problem is a fundamental problem in metaphysics or a secondary one? In this issue we are confronted with two main difficulties: one is that some scholars doubted to two Farabi's works that he discussed there the problem of emanation, mean Fosus Al-hekam and Ouoon Al-masael. They cannot say that these two books certainly are Farabi's books. But the more difficult problem is that Farabi's views on the problem of emanation are different in his works. It seem that some of Farabi's books are basically written in the Aristotelian context and some of his books are from his personally views. In addition, there is another difficulty: Farabi discussed the problem of emanation in some of his books that are not basically metaphysical but are psychological. In the present article, we try to survey these difficulties in Farabi's works.
 

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Tragedy is a type of dramatic literature that originated from ancient Greece and is performed on the stage in the form of a play. The great Greek philosopher Aristotle was one of the first to fully discuss and explain tragedy in his book The Poetics. He has introduced elements and components for composing a tragedy that plays an important role in the quality, attractiveness, and superiority of the tragedy.
In Persian literature, some works are a reflection of ancient Greek tragedies and Aristotle's view on this matter; Among the most prominent of these works is Ferdowsi's Shahnameh with stories that are very similar to ancient Greek tragedies. The present research aims to show the similarity and influence of Persian literature with Greek literature in the field of tragedy and with a descriptive-analytical method to compare the story of Siavash from the Shahnameh and the tragedy of Hippolytus by Euripides as a case study and has shown this alignment and effectiveness.
 

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In Muslim rhetoric, there are some debates about the way odes are composed. One of the debates among poets and critics is a narrative that contains specific instructions for composing an ode. That is, poets must go through certain steps to compose a beautiful ode. According to the instructions, poets should first think about the meaning and then choose a suitable meter and rhyme. Finally, they are to correct and confirm the poems. This study attempts to find out what the philosophical basis of this method of writing poems is. The study concludes that this foundation has its roots in Aristotle's theory of language mentioned in Organon and Peri Hermeneias.
Extended abstract
Composing ode in the Arabic language and literature dates back to the pre-Islamic period. The poets of the Jahili period were familiar with the ode and used it to speak on various subjects. In Jahili period, the ode system was an institution that produced thoughts and expressed the meaning of the Jahili world through visual and rhythmic language.
As a rule, any theory about poetry is supported by a philosophy. One theory of poetry that is valid in the Islamic world is the theory of Abu Hilal Askari presented in Al-Sana’atein. Askari believes that poets should first think about the meaning they want to convey and then choose the rhyme and complete their poems. According to him, poets should go through five steps to compose a good poem: 1) deciding to write a poem; 2) preparing the meanings in their minds; 3) choosing a meter for the prepared meanings; 4) choosing an appropriate rhyme; and 5) composing and editing the written poem.
Abu Hilal’s philosophical ideas about writing a poem have not been well received so far. This may be because he is considered a member of a literary school rather than a member of a theological school. This study attempts to elucidate the philosophical underpinnings of some of the poetics popular among Muslim rhetoricians. However, it has its roots in the ideas of Aristotle. The study attempts to answer the question: Where are the philosophical roots of the theory that specifies a method of poetic writing known in the Islamic world?
It is noteworthy that Aristotle drastically influenced the Islamic world, so researchers cannot simply ignore his presence even if it seems that he cannot have any influence. In any case, researchers should be careful and recognize his probable impact. Aristotle’s Organon contains a theoretical discussion of the nature and function of language. This prompts researchers to consider Aristotle’s role in poetry writing methods. Aristotle includes four elements in his considerations: Sensual passivity, speech, writing, and external reality. It should be mentioned here that for Aristotle, words are representatives of the soul's inactivity. Comparing and contrasting Aristotle’s ideas and Abu Hilal Askari’s views on writing poetry make some things clear. Aristotle discusses sensual passivity and its representative (i.e., the word) in the methods of writing poetry. Muslim rhetoricians also speak of two elements corresponding to each other or one representing the other: the first is “meaning” and the other is “meter and rhyme”." Askari emphasizes that poets should first prepare the meanings in their minds and then consider how to deal with these meanings and choose a rhyme suitable for them. This means that poets cannot choose any meter or rhyme for any meaning, just as Aristotle said that poets should choose the words that represent sensual inactivity, not the words that lack such capabilities. The mentioned correspondence between Aristotle's theory and the theory of Muslim rhetoricians in this regard can be presented as follows:
Sensual passives → Vocabulary (special)
Meanings → Meter and rhyme
It can be concluded that Aristotle’s ideas about language, words and meanings were the origin for part of the poetic theory of the Muslims in the Islamic world.

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 Advanced research based on the model of "contextual interpretation" and relying on the rule of "tradition as context" to investigate the reflection of the "tradition of reciting poetry” in the language of the first surviving Arabic translation of the Poetics. The premise of the research is that the reciting of poetry has a dramatic nature in the tradition and Matta has paid attention to it, therefore, the art of reciting poetry should be regarded as the "textual texture" that dominates his mind and perception, and the "hidden text" of his translation language of Aristotle's Poetics. The study shows that the rendering of word comedy to satire in the translation of Abu Bishr Matta has roots in two things: a) the connection of comedy and satire in the textual network of source language, that is, the Greek literature, reference to this historical fact that Signs of satire can be seen in Ancient Greek comedies. b) dramatic nature of reciting satire in the target textual network i.e. Arabic literature, referring to numerous reports about the dramatic pattern of poets in reciting satire. The distinction of Matta's work is his combination method in translating the specialized terms of the Poetics, such as "comedy"; a method that has led to preserving the dramatic nature of comedy in translation; The translation of comedy into satire is a "hybrid and threshold" translation and is close to the linguistic-literary context of source and target, that is, has roots in the cultural, literary and social contexts of both.

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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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This study is based on this question, that if it would be required to write a screen play about Islamic and Shi'ah infallible leaders (Imams), then what would be the suitable model for this. The classic model, in this regard often based on the Aristotle model, is not enough and ideal to present the infallible Islamic characters. This is because it is forbidden to show the face of the Islamic infallible characters in film, and also according to Shi'ah believes they have static characters in which they are incompatible with the Aristotle’s characterization model. This study focuses on the characterization aspect in screenplay throw the assessment of the technical capacities in classical screenplay aiming to answer this question that how much these techniques could represent the character of the infallible Shi'ah leaders. The hypothesis of this study is based on this point that the technical capacity of the Aristotle model in screenplay is more proper to show the secular character rather than to represent the holy and infallible character. We have to change the essence of such models founding some new technical capacities and introduce a specific novel model. It has been reached in this study that the characterization models in the Aristotle and Hollywood drama cannot display the Islamic infallible figure, which needs different methods and aesthetic changes. Also, concerning the several problems mentioned in this article, not only scenario writers must look for solutions, but also Islamic scholars, specialized in jurisprudence and Sharia’a, should interfere in resolving the obstacles and suspicions raised in this study, in order for the scenario writer to innovate within a clearly defined perimeter. We also concluded that it is possible to benefit from some of the experiences and innovations in the Western cinema in order to surpass the limited space of our experiences provided that we must expand our creativity potential.  

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Although natural law has a deontic essence and function in the paradigm of modernity, and thus prompted the passage of the traditional structure, the conceptions and analyses reconcilable with tradition are also evoked throughout the history of thought and it seems that Aristotelian natural law thought, the most famous one, is a gaze that reflects natural law based on the nature of things being the symbol of realism. Perhaps Montesquieu belongs to legal historicism and thus one cannot find a relationship between his thought and natural law, but the fact is that Montesquieu is not outside the paradigm of modernity. His concern is natural public law and why is the nature of things in his idea not another expression of spontaneous and social rationality and the freedom based on this rationality? By analyzing and critiquing Montesquieu's various conceptions of natural law, this research tries to present a conception that is reconcilable with Montesquieu's natural public law anxiety and thus makes it possible to understand his thought in the paradigm of modernity.
 

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In his Nichomachean ethics, Aristotle has introduced Friendshiop (philia) as a civic virtue higher than justice. After Aristotle, Latin and Iranian thinkers articulated on the notions of “Amiticia” and “Dusti” as equivalent to Aristotel’s philia. In the modern times, while justice was regarded as legal system protecting individual rights, Friendship was reduced to a personal concern and was confined to private sphere of life. In recent time once again friendshiop has entered the intellectual melieu both in Iranian and German culture.  In this paper three models of Friendship, namely Phronetic, Erfanic, and Phenomenological, are analysed, and, according to what these models pertain to, it is suggested that as regards convergence, it can be brought about by Friendship more than by Justice.

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