hesam hajmomen; Majid Salehbek
Volume 11, Issue 42 , July 2015, , Pages 37-54
Abstract
According to the common sense, literature as a collection of literary works is considered as a conventional concept. However, in this regard, we face some questions like what distinguishes a literary text from a non-literary one? how is it possible for a heterogeneous collection of text to be included ...
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According to the common sense, literature as a collection of literary works is considered as a conventional concept. However, in this regard, we face some questions like what distinguishes a literary text from a non-literary one? how is it possible for a heterogeneous collection of text to be included under the category of literature? what does the literariness of a text depend on? and how can we analyze the literariness? Such questions indicate that studying literature faces many challenges. In addition, lack of a well-structured approach to literature and its contents and concepts have resulted in a situation where scientific study and exegesis of literary works are not but a weak collection of research studies with instable criteria that do not facilitate the study of literature properly and fruitfully. Regarding the questions and the necessity mentioned, in the present paper, presenting a definition of literature, we intend to come up with the fundamental elements of literariness. Afterward, these elements shall be investigated and the manifestation of them in literary works shall be identified. In doing so, our approach to literary elements shall be aesthetical and they shall be studied from Aesthetical Experience Theory point of view. Finally, we shall deal with the outlets of the manifestation of these elements in literary texts in order to identify the organization governing such a phenomenon. The main intention of this study is exploring the recurring structure of the motifs in literary texts on the basis of a homogenous theoretical approach to literature.
asghar vaezi; esmail ghaedi
Abstract
The modern hermeneutics era began with Schleiermacher's attempts to expand the scope of hermeneutics. He declared misunderstanding natural. While admitting its being customary and inevitable, he concluded that understanding is always an act of interpretation. In his view, every act of understanding involves ...
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The modern hermeneutics era began with Schleiermacher's attempts to expand the scope of hermeneutics. He declared misunderstanding natural. While admitting its being customary and inevitable, he concluded that understanding is always an act of interpretation. In his view, every act of understanding involves two modes of interpretation, i.e. grammatical interpretation and technical (also called psychological) interpretation. The former addresses the linguistic functions and features of text while the latter views the text as the realization of author's individuality, and studies it according to his/her dealing with the language. In Schleiermacher's belief, in each mode of interpretation, understanding and interpretation take place in a circular process known as hermeneutic circle. The grammatical interpretation focuses on physical aspects of text, i.e. the whole text and its individual parts. On the contrary, technical interpretation addresses the author's individuality. Understanding of author's individuality is made possible only when the interpreter makes guesses and comparisons with himself in order to find a way to the author's mental world.
amer gheyturi; hamid taheri; jafar mirzaee
Abstract
This article aims to bring the French philosopher Jacques Derrida into conversation with the Persian mystic poet Mowlavi. What might link the two thinkers is their critical approach toward philosophers' claim as to the authority of reason upon the truth. According to both, reason should acknowledge its ...
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This article aims to bring the French philosopher Jacques Derrida into conversation with the Persian mystic poet Mowlavi. What might link the two thinkers is their critical approach toward philosophers' claim as to the authority of reason upon the truth. According to both, reason should acknowledge its limits. However, by so criticizing the material reason, Mowlavi opens the way to Love, the Heart, or revelation as an alternative to get to the truth-a tool that Derida, as a philosopher, does not seem to resort to. Hence, he remains a philosopher to the end. It is, nevertheless, in acknowledging the limitations of the philosophical approach that he kneels down before truth and faith, speaking to his God with swollen eyes full of tears.
Sharareh Teimouri; Shamsolmolouk Mostafavi; Maryam Bakhtiarian
Abstract
Jacques Derrida was one of the few philosophers who seriously became involved with architecture. Despite his innermost desire, Derrida seems to have never made a proper connection with architecture. As soon as Derrida's theory of deconstruction was developed in architecture, it was thought that a practical ...
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Jacques Derrida was one of the few philosophers who seriously became involved with architecture. Despite his innermost desire, Derrida seems to have never made a proper connection with architecture. As soon as Derrida's theory of deconstruction was developed in architecture, it was thought that a practical way to translate and represent an idea was found. Concerning the output of the deconstruction style, the feedback of that opinion in the design of architectural spaces demonstrates that it was a complete failure. It showed the reflection of Derrida's idea on architecture was based on a poor understanding. The aim of this study is how accurate and complete the style of deconstruction in architecture represented Derrida's opinion on deconstruction? Derrida entered the deconstruction style project in architecture to show that arts are the best objectives to represent the manifestation of deconstruction. Although other studies accepted the formation of the deconstruction style in architecture as the fact of Derrida’s deconstruction, Parc de la Villette’s project really contradicts his hypothesis. Not from an architectural point of view, but from a philosophical point of view instead, this study emphasizes the philosophical basis of Derrida's views on deconstruction according to his thought on texts. Accordingly, as a strong and steady connection, Derrida's deconstruction is a kind of exposure to our relationship with the world, while the architecture's deconstruction style breaks the connection and even disrupts our relationships with this surrounding world.
