This research deals with structure of power and its concept in Farabi's political
philosophy, by analyzing his basic thesis of Utopia, and analyzing the relation between
governor and the parish, and explaining the political connections that control
this city, like
the stratification and ideological structure down to the relationship between the prophecy
and philosophy, all this through systematic reading deals with the power of speech and its
relationships, and the semantic context through which these ideas emerged, and the nature
of cultural relationships that control thought and cultural production in that era. By
understanding Farabi's political ideas and their situation of speech context emerged the
category of (good authority) as a reflection of the structure of that era, and an alternative to
the category of existing power at that time which was based on tradition and the sanctity of
hereditary rule. Here Farabi's summon the pronouncements of the Greek speech and
reconstructing and integrating them in the context of the Islamic intellectual on the one
hand becomes a necessity which is required to the building of the political alternative of
religious feudal authority, and on the other hand its unique feature and characteristic
distinguish the Farabian philosophy through his building a philosophical pattern which
combines rationality and inspiration.
This article examines the apocalyptic images, characters and allusions in two selected plays of fin de siècle theater: Salome (1893) by Oscar Wilde and The Sea Gull (1896) by Anton Pavlovich Chekhov. These two plays are selected to illustrate two dif
ferent ways, direct and indirect, in adapting apocalyptic images, borrowed from the Book of Revelation. In Salome, Wilde employs apocalyptic images, sometimes literally and sometimes through allusions. The research claims that through this process, Wilde does not emphasize the dominant eschatological ideology of the end of time. On the contrary, he attempts to destroy the illusions and apocalyptic scenarios of the end of the world of his contemporary people. Doing so, Wilde uncovers the real apocalyptic reality that the people of the late nineteenth century lived. Similarly, the article also examines Treplyov's symbolic play within a play in Chekhov's The Sea Gull focusing on the great influence of the Apocalypse on Treplyov's mind whose eschatological imagination leads him to his final destruction and death. Because of the inability to cope with the accelerating changes and intolerable decadent reality, Treplyov becomes the prisoner and victim of his own apocalyptic imagination. The article concludes that like Wilde, Chekhov does not strengthen the apocalyptic and nihilistic views that echo the widespread fears of the end of time by the nineteenth century people, but rather warns against the dangerous consequences of the ideology of the end of the world through the play within a play technique, and the adaptation of apocalyptic images.
