The Impression of the Originality of Existence Philosophy Concepts in the Dramatic Literature with Emphasis on Three Plays (Nausea, Dirty Hands and the Satan and God)

Jean-Paul Sartre's point of view on the originality of existence philosophy is interleaved with concepts such as: freedom, apprehension, choice, awareness and human presence as well as everything that leading to man's liberation is reflected in his plays. Jean-Paul Sartre puts existence precede to the nature and considered the man as a potential free being that in the way of freedom he is responsible not only for himself but also for others. In the book of "Existence and Non-Existence" he is believes in deconstruction in all social and cultural fields. Sartre sees drama as a window for attitudinize the universe. The concept of existentialism in his plays is under the influence of philosophical and ideological propositions. Moral and political characteristics in the works of Jean-Paul Sartre expressed in such a way that describes a kind of worldview with philosophical propositions and dramatic, artful technique. Therefore one of the questions in this article is how did Sartre's dramatic literature benefit from the philosophy of existentialism? How does existence and non-existence appear in most of Sartre's plays? What does the concept of hell basically mean in his works? In this article, an attempt has been made to demonstrate how existence and non-existence and the critique of dialectical wisdom have been evaluated in his plays

An analysis of Deleuze's Concept of Time (or Duration) in Photomontage Photography

In this article, we try to consider the concept of time or duaration of Deleuze in photomontage photography with reference to Francis Bacon's paintings. Deleuze discusses time using Bergson's philosophy of motion and duration. Philosophy is a work of art in the postmodernist view, it is anti-structuralist, and according to this issue, art cannot be considered a narrator, because art that is a narrator and is based on structure is a dead art. Deleuze's philosophy is neither subjective nor objective; He tells the story of the very presence and life in the world. For this reason, and based on his initial teachings and Hegelian's totalitarian ideas, he reduced the world and thought in the world to a single whole called the nature of life, and tried to put this totalitarian thought into thought. The gradual-evolutionary naturalistic experience blends. Jilles Deleuze tackles the issue of art from an anti-structuralist perspective. He examines the relationship between times in photomontage photography. We assume that concepts in photography have a motion-driven and creative role with the principle of being in photomontage. The main claim and finding of this article is that it can be said that Deleuze, by violating narrative and being in the art of photography, considers photomontage as a creative movement in fluidity that takes time and space. The most prominent English formalist painter is Francis Bacon. Bacon was able to express the modernist European perception and mentality in his works through visual language or figurative art. Our method in this research is descriptive and analytical. This research seeks to find the answer to the question of how to bring becoming into the art of photography and prevent its narrative and structure