The subject of this article is about classical interpretation of probability and its Problems. For centuries, classical probability was the only prevalent approach in probability theory. Because of some Problems and paradoxes in this theory, new interpretations were introduced by Philosophers and thinkers in the beginning of 20th century. In this article, we introduce the classical interpretation of probability from Philosophical–Historical approach and review its problems. We also review the frequency interpretation, logical interpretation and subjective interpretation as alternatives for classical interpretation.

Science often seems to issue statements about probability of some occurrence. In this paper, we will take a look at three different interpretations of probability. What all of these interpretations share is that they satisfy the Kolmogorov axioms of probability? Briefly discussing each interpretation and its problems, we will focus on the subjective or Bayesian interpretation. Many philosophers have tried to understand evidence using probability. When there is uncertainty about a scientific hypothesis, observational evidence can sometimes raise or lower the probability of the hypothesis. Bayesianism is the most available version of this idea. According to the Bayesians, a probability measures a person’s degree of confidence in the truth of some proposition relative to available evidence.

Purpose: The science of interpretation, as the most important science responsible for understanding the Qur'an, needs to be methodized and updated so that the teachings of the Qur'an can be used easily for all classes of people. In the present study, the meaning of "future research in interpretation" is the ability to create desirable models for more efficient interpretation in the future, by using scientific tools, creativity and relying on the foundations and rules of interpretation and compensating the damages of interpretation in the past.Method: This research, with descriptive analytical method, answers the question, what are the fields and requirements of future research in interpretation? Findings: The results of the current research are based on the fact that special attention to the Qur'an, as the most important source of interpretation, rationality and methodical consideration in interpretation, attention to the prerequisites of interpretation, interpretation based on the requirements of the time, the need to pay attention to thematic interpretation, studying on the history of interpretation and observing the manners and conditions of interpretation are one of the most important requirements of interpretation in the future. Results: Considering the developments that will take place in the field of knowledge, methods and expectations from science in the future, the interpretation will also change. For this reason, in order not to cause various damages to the interpretation of the Qur'an, it is necessary to pay attention to the various contexts, principles and requirements of the interpretation of the Qur'anic commentators and scholars.

According to the principle of indifference, we have to attribute equal probabilities to the alternatives that are equally possible. Beyond being intuitive on its own, the principle of indifference plays a significant role in various interpretations of probability. Nonetheless, a group of paradoxes has been found against this principle which seriously challenges its consistency. In this paper, I argue that the rules that M. Baqer Sadr has developed in his “Brief Knowledge” interpretation of probability, particularly the governance principle, provide distinctive resources for offering a novel, coherent, and plausible answer to all of these paradoxes. Consequently, it not only vindicates the principle of indifference from the charge of inconsistency but also lends credence to Sadr’s theory of probability.

Throughout history, the art of musical performance has continuously posed a critical challenge to musicologists. How do musicians create an expressive performance? Are there given and conscious set of rules that govern musical expression or is interpretation an intuitive act where it is neither learnable nor capable of being instructed. This article reflects on the art of interpretation as one of the most fundamental pillars of musical performance and explores inherent musical elements which shape musical expression. While making an effort in instigating the need for a deeper and more sophisticated approach to the performance of instrumental repertoire, , the article introduces a model for a deliberate and determined process of interpretation in which three fundamental layers are recommended in order to define musical parameters that enhance expression. The three layers, namely the Structural layer, the Aesthetic layer and Musical motion and dynamism are each separately discussed and the parameters underlying each layer are categorized. Although all examples are cited from the flute repertoire, the article's treatment of the examples is transparent and clear-cut and suitable to appeal to all instrumentalists. While providing a pragmatic approach toward simple guidelines for the art of interpretation, the model helps to enhance cognitive capabilities and analytical insights in performers and provides them with a strong basis for aesthetic and artistic judgments which could be used while learning and performing musical works. Within the classifications made under each layer; the Structural layer clarifies the relationships embedded in the phrase structure and highlights the importance of a hierarchical organization of the motivic and melodic divisions in the phrase and calls it the most critical structural consideration in the path to appropriate expression. In the Aesthetic layer, knowledge of historically informed performance and stylistic approach to the music of each period has encouraged the author to highlight and elaborate those elements of performance practice that help performers make aesthetic judgments and cultivate elements intrinsic in the musical style of each epoch. Consequently, aesthetic elements that lead performers to better understand the structural differences in the music of each period are explained in an attempt to clarify ambiguities in performance practice and to encourage the practical application of highlighted elements while performing on modern instruments. In the final but most important layer called Musical motion and dynamism the article has identified elements that present themselves as the source of motion in music. Motivic pulse, melodic inflection, accentuation, and gradations in sound are categorized as the elements that shape melodic motion and dynamism. While emphasizing the critical role played by this layer, the article posits the important position assumed by musical pulse versus meter and tempo and underlies the importance of grouping structures in the formation of musical tension and release and melodic span and closure. In conclusion, the article encourages performers to consider the vital position of the body in the dissemination and management of the flow of energy through musical performance and postulates that musical expression is the sole outcome of embodied performance.

One of the factors that can be the link between our intentions and actions and their external consequences is human agency, which indicates the conscious design and intentional execution of actions by the individual in order to influence future events.Objective and Method: This research with a developmental approach of psychometric method and method 1, examines the psychometric indices of the Human Factor Characteristics Scale using the classical theory of test score measurement and the graduated question-answer theory. The purpose of this study, which included high school students in Tehran, was selected by cluster sampling of 500 people as a sample size and statistical analysis was performed on 481 data. To collect the data, the ion Human Agent Characteristics Scale (2011) was used and the research questions were evaluated using IRTPRO and SPSS software.Results:The assumption of local independence based on Pearson x2 index was established by applying Simjima's calibrated question-answer theory and the assumption of being one-dimensional based on the analysis of multidimensional question-answer theory. Diagnosis parameters with question-answer approach and classical approach Test score Both item 25 approach had the lowest and item 2 had the highest diagnosis parameter. The answer thresholds for all the questions were so far apart that no option was covered by the other option, and the options were independently selected by individuals at intervals of theta. The total scale was calculated with Cronbach's alpha of 0.945, intentionality of 0.894, foresight of 0.780, self-reactivity of 0.871 and rethinking of 0.762. Also, the role of each item in internal consistency was investigated by the loop method, which all questions had a favorable role in internal consistency of this scale. The value of the validity coefficient obtained from the question-answer theory was obtained by marginal method for intentionality 0.92, forethought 0.85, self-reaction 0.91, rethinking 0.83..

The subjective interpretation, as one of the four conventional interpretations of the philosophy of probability, was introduced by Frank Ramsey and Bruno De Finetti to overcome some problems of Bayesianism. This interpretation has fans today and is of interest to many Bayesians. The epistemological feature of the Bayesian framework is subjective trust (or credence). The purpose of this article is to further investigate the subjective interpretation of the philosophy of probability, from the perspective of the tension between probabilistic cognition and non-probabilistic perception. The meaning of probabilistic cognition is knowledge based on mathematical relationships and especially the Bayesian formula, which provides the level of certainty of an event by using credits (degrees of belief). On the other hand, non-probability perception is the result of individual interpretations or any other type of probability assignment without considering the mathematics of probability. The investigations will show that this tension is real, and the solution presented in this article is that in predicting events based on subjective interpretation, non-probability perception cannot be ignored.

The literary point of view of Nima is founded on a critical approach towards the Persian classical verse, and his ideas have vastly but paradoxically influenced his followers and the new generations of Iranian modernist poets.This article intends to investigate the critical approaches of Nima towards the classic poetry, on the basis of his descriptive-narrative model, as the central point of his poetical views, in order to not only eliminate some of the vague and paradoxical points in Persian modem poetry, but to manifest the already unknown capacities of Persian classic poetry.Some of the most remarkable deficiencies of Nima's argumentation against classical verse are as follows: taking a subjectivist approach especially towards lyrical poetry (ghazal ), neglecting the narrative aspect and of classic poetry, making use of the features of the modem novel in criticizing this poetry, relying on a merely realistic interpretation of poetic creativity, reducing the poetical devices to the rhetorical elements, ignoring the subjective internal time of narration, and the opposition of descriptive-narrative model and the Persian classical verse.

Perceiving the meaning of Quranic verses requires its own reasonable method. When enough knowledge of the methods occurs, one can perceive the real intention of commentators. On the other hand, classic hermeneutics has been founded to make us aware of the principles and methods of perceiving the text, and in this way, it has led to vast fundamental changes in the field. Regarding what is common between Quranic exegesis and classic hermeneutics, it is necessary for both to use the findings of one another. Following such an aim, therefore, the paper has studied the most important bases in the field.

This paper gives a general perspective on classical and post-classical Narratology. First, it is said that anything that tells a story, may be called narrative. Then, it goes to say that Narratology as a whole is a theory of narrative. Dividing Narratology into classical/ Post-classical, this paper distinguishes between story, chain of events and discourse; the means by which the story is communicated. The main elements of the story (including time, place and character) and those of discourse (including narrative communication model, the act of narration, point of view / focalization and speech and thought representations, are described in the body of the paper. Finally, reviewing classical Narratology, this paper lists some characteristics of postclassical Narratology as the new theory of narrative grammer.