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Showing 5 results for Hermeneutics
S.m. Rastgoo,
Volume 12, Issue 45 (10-2004)
Abstract
‘Ta‘vil, (Hermeneutics) has long been one of the widely-debated terminologies particularly in the field of Quranic research. Drawing upon the earliest lexicographical documents, the author argues that the term was originally used to mean, changing from potentiality to practice. Sinc this sens of ‘ta‘vil, goes and collocates with ‘Beginning’ ‘End, "Ultimate goal", and‘ inward nature, the term has gradually acguired these meanings as well.
Then, attempts are made to show how the frequent applications of ta’vil, in the Holy Quran (17 times) go with the original sense of the key word. Towards the end of the paper, the hermeneutics of Quran is discussed vis ―a― vis its being sent down ; the latter has a descending dirction whereas the former has got an ascending movement.
Hence, hermeneutics facilitates man's journey from the explicit structural meaning of the Quran to its inward and superior word. For economy reasons , the author has deliberately skipped the other scholars’ views on this issue.
Mohammad Hosein Bayat, Fariba Jabbari,
Volume 29, Issue 90 (7-2021)
Abstract
Teaching monotheistic topics and trying to understand the ambiguous concepts of epistemology have always been the concern of thinkers. Despite the commonalities in monotheistic teachings, access to rich concepts is not possible for everyone, and there may be contradictions in the understanding of meanings. Hadiqah al-Haqiqah and Masnavi are among the instructive texts that have used figures of speech to express monotheistic concepts. In this article, the teaching style of Sanai and Rumi based on the method of using Monotheistic Images and Corbin’s hermeneutics approach is studied. The monotheistic language of Masnavi and Hadiqah al-Haqiqah is almost the same. Sanai has expressed monotheism in a general way and at a high level, while Rumi has gone into more details about monotheistic concepts. Hadiqah al-Haqiqah images are mostly designed on the horizontal axis, whereas in Rumi’s Masnavi, many images can also be found on the vertical axis. Rumi has sometimes used Sanai symbols and in many cases has taught monotheistic concepts with completely innovative symbols. The monotheistic images of both mystics are a combination of philosophical teachings and mystical intuitive symbols in Corbin’s hermeneutics. Benefitting from the graphic form of the letters (alphabetical symbolism) and the metaphor of the letters are common to both works.
Farzad Baloo, Reza Rezapour,
Volume 31, Issue 95 (11-2023)
Abstract
In order to understand the meaning of existence, Heidegger analyzes the existential possibilities of the German word for existence, i.e. Dasein, and among these possibilities, he pays special attention to the relationship between language and existence. In addition to speaking, he considers silence as one of the linguistic possibilities. According to Heidegger, linguistic silence has the potential to reveal existence much more broadly than just speaking. This revelation of existence and hearing the voice of existence in silence gives it an interpretive quality, which Heidegger calls hermeneutics. Since in our mystical heritage, Mawlana Jalaluddin Muḥammad (Rumi) speaks of silence and reticence in most of his ghazals, the authors of this article believe that in the light of Heidegger's conception of silence, new horizons of this concept can be opened up in the ghazals of Shams in order to show its interpretive and hermeneutic features in the following propositions: “from the unworldliness of Dasein to the annihilation of the truth-seeker in the general sense and its connection with silence”, “from Dasein's transition from the linguistic position to the linguistic annihilation of the truth-seeker in the specific sense and its connection with silence”, “the hermeneutics of silence and the reception of genuine speech from Dasein to the truth-seeker”, and “Rumi's hermeneutic silence and the reception of genuine speech” as proof of this claim. By proposing genuine silence, Rumi provides a ground for the soul and the world of existence to speak up and to display the shortcomings and inadequacies of language and to reveal the secrets of the universe. Attention to the hermeneutic aspect of silence in the ghazals of Shams distinguishes the present article from the existing research and a new achievement in the field of Rumi research will emerge.
Rashin Mobasheri, Hossein Hasanpour Alashti, Fatemeh Jamali,
Volume 31, Issue 95 (11-2023)
Abstract
Each branch of hermeneutics is like a slice of reality. Integral hermeneutics confronts us with a larger part of reality. Since the image contains more information than the text, in integral hermeneutics, using the capabilities of the image, the elements related to the analysis of the author, the text, and the audience can be integrated together in an interactive space and displayed as an image. In this article, the poem Heartless (Biedel in Persian) by Mehdi Akhavan Sales was analyzed based on the integral hermeneutic approach, which first examines the elements of the text and the author's situation and then using psychological analysis, looks for external examples of text elements in the life and circumstances of the author. The results of this study showed that the depth images were used based on the proof images through the possibility of visualization (visualization of freedom in the pigeon). The depth image means the use of secondary aspects of words and the proof image means the author's attempt to express one’s opinion and to attract the audience. According to imagery structure, the ‘dove’, ‘blood’, ‘tower’, and ‘lost’ are in the focus as the central images and the poetic images are created by employing the secondary meaning of words using description and symbolization. These images have a lyrical tone due to the ‘akhrab makfouf’ present hexameter. Moreover, this poem has a socio-political function and like a critical statement, it portrays a regressing society as a result of the coup. The poem uses cinematic imagery because it has a narrative and rich imagery to take advantage of the secondary meaning of words. In fact, using symbolism and the secondary meaning of words, the poet tries to win the support of the audience regarding his intention, which is taking a stance on a historical, political, and social event.
Ghodsieh Rezvāniān, Souren Sattārzādeh,
Volume 32, Issue 96 (4-2024)
Abstract
The issue of the “subject” is the most important factor in the distinction between classical and modern literature. The word “I” is often general and abstract in classical literature, while in contemporary literature, following modern philosophy, it is an individualized and concrete “I” or, in other words, an active subject. Perhaps the most obvious manifestation of this paradigm shift - especially in poetry - can be seen in the type of encounter with the “subject”. Contemporary poetry, from its most superficial romantic facet to its most complex philosophical aspect, expresses a self-sufficient subject whose origin is human centrality. Ahmad Shamlou is one of the poets whose poetry subject is “I”. This research deals with the hermeneutics of “self/subject” in his poetry using qualitative content analysis and critical reading of the collection of Shamlou's poems along with selecting indicative examples. Since this “I/self/subject” has been subjected to turmoil and transformations during his six decades of writing poetry, the theoretical framework of the discussion is also based on these developments and deals with both the philosophical subject which emphasizes individual thought and consciousness and to a subject that is a social construct. Hence, the theoretical framework of the study is based on a triangulation of Michel Foucault’s discussions about the hermeneutics of the self and governing oneself and others; the theory of symbolic interactionism, which deals with the individual and social “self”; existentialism that focuses on freedom, choice, and responsibility; and ultimately Althusser’s perspective on the subject i.e., subject with s (small letter) and subject with S (capital letter). "I" in Shamlou's political poetry is an ideological pseudo-subject (subject) due to his attachment to the Toudeh party, whereas in his philosophical poetry, it is the result of knowledge and awareness based on his own lived experience, and reflection on existence, human, life, and death, as the supreme subject (Subject).
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