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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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Theologians believe that the creatures exist based on the activity of the oneness god. But before that, we can ask “Why are creatures possible?”. Brian Leftow has criticized the traditional responses that maintain possible objects are possible due to knowledge of god. God knows the apple, so the apple is possible. It is not a satisfactory response for Leftow, because the essence of God does not need this possibility. Whether the apple is possible or not, God is the God. Also, it seems that the possibility of any creature is necessary. Leftow maintains that this necessity is not written in the essence of God but instead depends on God’s thinking and voluntary creation in his mind. God is the author not just of created reality, but of its vocabulary. This paper explains Leftow’s theory and then criticizes its idea depending on the perfect being theology that Leftow has accepted. 
 

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The nihilistic transition in Akhavan's poetry is the main focus of this research. Akhavan's poetry, with its modern philosophical background, contains profound meanings that make it worthy of analysis beyond the ordinary. One of the most obvious of these meanings is the dialectic of hope and despair. Akhavan's acquaintance with the ideas of modern Europe, like for instance, the philosophical ideas of Friedrich Nietzsche, led us to analyze the tendencies of the nihilistic transition of his poetry considering Nietzsche's "transition from passive nihilism to active nihilism”. Upon analysis it became clear that Akhavan's poetic thought reflects Nietzschean nihilism, as it can be traced in his views such as denying the metaphysical tendency and relying on the human will of elitism, specific views of morality, becoming, and also eternal return, considered as the way to create the superman. Thus, the results of the research showed that Akhavan's poetry, seemingly is a reflection of a kind of passive imagery. However, with a closer look, it became clear that his poems have specific formal and semantic features based on which the emotion of despair and nihilistic thought became active rather than being passive. The method of the current study was qualitative and the approach to analysis was a philosophical critique approach and it also adopted a descriptive approach.
Introduction
One of the dominant themes of contemporary Persian poetry is the dialectic of "hope" and "despair", which, above all, is the result of the socio-political factors of the age, which sometimes lead to specific philosophical insights. One of the contemporary poets of Persian is Mehdi Akhavan Sales, whose poetry is often associated with socio-political themes, but after a while, his political grief and national ideal moved towards philosophical grief and a genuine human ideal which by taking ontological questions, finally confronts his poetry with a nihilistic vision. Part of this insight is the result of the Akhavan's acquaintance with the philosophical ideas of Nietzsche (1844-1900) (see: Akhavan Sales, 1981: 146-145; Akhavan Sales, 1990: 337, 89, 40). In this regard, Nietzsche seeks to unload human knowledge from mere rationalism and replace it with emotions and feelings. He spoke in the language of life and comprehensively acknowledged life through “the will to power" and the belief in "becoming" and "eternal return" in order to re-evaluate the values ​ of the superhuman. Like Nietzsche, Akhavan separates his path from its contemporaries.
Theoretical Background
 Asadollahi and Fathi (2020), in an article, examining the types of Nietzschean nihilism in Forough Farrokhzad's poetry and analyzing the tendencies of his poetry, have acknowledged life in its specific nihilistic transition. The difference between this research and the present article expresses the different poetic thought and behavior of contemporary Persian poets with a desperate context and the nihilistic culture of their time. Mousavi and Homayoun (2009) have also investigated Nietzsche's passive absurdity in the Blind Owl. Given the theoretical foundations of Nietzschean nihilism, the authors have shown that the narrator in this work, despite much effort, is finally unable to free himself from passive nihilism and to change to active nihilism unlike Zoroaster Nietzsche.
Objectives and Questions
 The main objective of the current study is denying the continuity of absolute passive nihilism and proving the organic flow of general nihilism in Akhavan's poetry - which, like Nietzsche's system of nihilism, begins with passive nihilism but ends with active nihilism. We call this approach the "nihilistic transition" in Akhavan's poetry. Therefore, this article intends to answer the following question: What are the methods or tendencies of Akhavan's poetry in acknowledging life in the approach of Nietzschean nihilism and how do they manifest themselves?
Analysis and Discussion
In general, denial and despair are the major themes in Akhavan’s poetry. However, one can also detect a stability in his thoughts. Both of these contradicting views shape his worldview (Mokhtari, 2000: 458 - 459). Thus, although in most of Akhavan's poems a concept of futility can be seen, he also embraces life:
Whatever you want to do, you know yourself / if it is useless, or whatever it is, how many and why, / this is and there is no other./ Death says: Hmm! How useless! / Life says: But you have to live again, / you have to live, / you have to live! ... .” (Akhavan, 1991: 178)
In summary, the transition from passive nihilism to active one can be traced in these themes: Akhavan's poetic thought and style in dealing with metaphysics, the metaphorical truth in the Akhavan's view on destiny, and the manifestations of becoming and eternal return in his poetry.
 
References
Akhavan Sales, Mehdi (1981). From this Avesta, fifth edition, Tehran: Morvarid.
Akhavan Sales, Mehdi (1990). Innovations and the gift and meeting of Nima Yoshij, second edition, Tehran: Bozorgmehr.
Akhavan Sales, Mehdi (1991). In the small autumn yard in prison; Life says but you have to live ..; Hell but cold, Tehran: Bozorgmehr.
Assadollahi, Khodabakhsh and Chiman Fathi (2020). "Comparative analysis of Forough Farrokhzad's poetry and Nietzschean nihilism". Research of contemporary literature of world. No.1.pp. 29-60.
Mokhtari, Mohammad (2000). Man in Contemporary Poetry or Understanding the Presence of the Other, Tehran: Toos.
Mousavi, Seyed Kazem and Fatemeh Homayoun (2009). "Passive nonsense in the blind owl." Journal of Literary Criticism. No. 8. pp. 111-139.

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Political Cinema is defined as a "political event", a "biography", or "process". Such a definition is, however, not inclusive enough to cover the films which focus on the normative aspects of politics without necessarily narrating a special political issue. By reviewing Abbas Kiarostami’s films, this article attempts to revise the definition of political cinema and propose the notion of normative political cinema.

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The analysis of literary texts that study metaphysical linguistic elements and focus on the scrutiny and search for hidden layers of the metaphysical mental images of the writers is of great importance; the inference leads to superficial and virtual inferences of texts. Therefore, this research takes into account the descriptive-analytic approach to study the theory of a linguist named Frege under the title Objectivity to Meaning and Example and then applied this theory to the poetry of Ilya Abu Mazy, a modern Arab poet. It is suggested that Ilya, as a naturalist philosophic poet, has variously used metaphysical and natural propositions in his poetry; therefore, we need a linguistic analysis to understand the metaphysical linguistic philosophy hidden there. The results of the research show that the poet's use of the method of rhetorical objectification and representation reminds us of the method of Objectivity to Meaning and Example. In rhetorical objectification, he has tended to metaphysical philosophical propositions such as ontology, epistemology and anthropology as a result of his natural tendencies, and in rhetorical representation employ human-related concept. In addition, it is clear from this analysis that Arabic rhetoric plays an important role in acquiring knowledge about new linguistic theories and paving the way of understanding language barriers.