Raed Faridzadeh

The Greek Phronesis is among the key concepts in Aristotle’s ethics and politics. It appears especially in the Book VI of his Nicomachean Ethics. The translators of Aristotle’s work could only render those aspects of its meaning that they were able to comprehend. The present study examines how phronesis is transmitted into Arabic in the revised version of the first known translation of the Nicomachean Ethics by Isḥāq Ibn Ḥunain (9th century) where he renders it to ta‘aqqul, ‘aql or fahm, and the translation made by ‘Abd ar-Raḥmān Badawī (20th century), who translates it as fiṭna. The findings are occasionally compared with the English and German translations of the same text by two significant commentators of Aristotle. The paper concludes that while Ibn Ḥunain’s renderings are historically justified, all in all, Badawī has translated the Greek terms with relative faithfulness, although he occasionally fails to establish a correlation between the concepts.

Problem statement: The study of the relationship between cinema and philosophy is one of the most important fields of interdisciplinary studies. Using the philosophical ideas of Western philosophers to read the works of Eastern artists can enhance the achievement of the values of artworks. Martin Heidegger’s view and the use of his thoughts in reading the Acinematic works of Mohammad Reza Aslani is one of the new interdisciplinary topics between cinema and philosophy. Heidegger believes ‘poetic-being’ is differentiated from other beings and emerges in language as “the house of being”. The truth in poetic language is happening and emerging from being to becoming, furthermore the mentioned happening, from the origin of the art work to poetic dwelling of the artist in his work is an ongoing and current dynamic process. If we consider Acinema as a poetic art, a noticeable similarity with the vision and notion of Heidegger would be appeared. According to Lyotard`s view, the French contem...