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Challenging the entire western philosophical tradition, which in his opinion has caused useless theoretical dualisms throughout the history of philosophy, Rorty wants to attempt to deconstruct and eliminate these dualisms in the context of "redemptive literary culture". By creating a dividing line between the private and public spheres, Rorty wants to specify the contribution and involvement of philosophers in presenting theoretical and philosophical views and to say that the political sphere does not need to acquire foundations from the individual criteria of the private sphere. It is as if Rorty wants to prevent the philosopher's ambitions and interference with theorizing by reducing philosophy to literature. In fact, he believes in the distinction between private and public spheres or politics, the philosopher's tool is imagination and his intellectual sphere is literary culture and his place is the private sphere. Assuming the acceptance of pragmatic criteria, doesn't this division of a person in two completely different areas make him a dual personality? Can this intellectual stance be reasonable and acceptable?

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By reviewing the current methodological topics in cultural studies, yet some kinds of theory/method dualisms are distinguishable. Going beyond these dualisms, requires emphasizing the importance of qualitative researches in cultural studies. In this article, we try to discuss the problem, which is focused on the dualistic contentions in the methodology of sociology and cultural studies. Next, with respect to the politics of theory and politics of method in cultural studies, we try to introduce an analytical approach, which helps us out to move beyond these dualistic quarrels. This analytical approach is well-known as “conjunctural analysis”. In this article, after detailed presenting this approach, and its conceptual origins that developed by Machiavelli, Marx, Lenin, Gramsci and Althusser, we argue how this approach can be applied in cultural studies. This argument reminds us that there is an intensive relationship between decentering method/theory dualism and possibilities of a cultural study as interventionist and contextual knowledge that is sensitive to history.   

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This research is a comparative study of the two discourses of the religious intellectual of the 40s and the discourse of the Islamic Revolution. In this essay, the author first used the epistemological framework of Lacla and Mouffe's theory and its methodological strategy to articulate these discourses based on their central slab. Shariati, with a sociological point of view, was able to present a political image of Islam centered on "revolutionary-social Islam", and the forerunner of the Islamic Revolution. In the continuation of this discourse, the discourse of the Islamic Revolution, also with a jurisprudential approach, with the focus of "pure Islam" as the central axis in the epicenter of the epistemological and thematic, of all political movements after the Islamic Revolution, with the same discursive components, was able to reproduce in a newer and more different form of production and theorize. Findings of the research indicate that both discourses, based on the belief in the combination of religion and politics with a relatively democratic approach and through the use of the "nations and pontificate" system, were able to establish their ideal state which, in contrast to totalitarian systems, religion the traditional and supportive clerics led to the marginalization of the dominant discourse and ruling of the era, the "Pahlavi’s discourse”. Both of these discourses, with the limitations of the powers of the leadership, however, despite the differences in the form and content, were able to emphasize the role of the people and their influence on the choice.

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The suppression of color is a common mood in the Far Eastern aesthetic experience, which is best represented by the brush-ink Chinese painting. Influenced by the Taoist and Confucian philosophical doctrines, it reflects the traditional principles of loneliness, poverty, and simplicity. Visualizing the Chinese traditional dualism, the black and white system goes beyond an artistic style and resembles a state of contemplation which invites to complete unity with nature. The final goal is self-annihilation in the light of the principle of non-expression.