جستجوی مقالات مرتبط با کلیدواژه "مرگ" در نشریات گروه "علوم انسانی"

Coma is a type of brain dysfunction in which a person experiences a severe decrease in their level of consciousness, and the most important characteristic of coma is the inability to regain consciousness; therefore, the sick person cannot regain consciousness through stimuli; therefore, it is necessary to examine the legal provisions and legal and jurisprudential perspectives regarding the type and amount of blood money.

The research method in this research is descriptive-analytical.

Ethical Considerations: 

All ethical principles have been observed in the writing stages of this research.

One of the challenges for people in a vegetative state is determining the amount of compensation, the type and amount of benefits lost, and the payment of expenses incurred in the vegetative state. In a vegetative state, a person is unable to perform voluntary actions; but they have vital signs. Coma is not a disease, but rather a symptom of a complication and damage to the brain that leads to unconsciousness. The unconsciousness of these people may be short-term or long-term. Accordingly, from a jurisprudential and legal perspective, they are considered conscious. People who suffer from this condition may survive for many years and, although they appear to be conscious, cannot communicate with their surroundings.

Vegetative life is not considered definitive death, and for each of the lost damages and benefits, according to the famous opinion of Imamiyyah jurists, the articles of the Islamic Penal Code, and the rule of non-interference of blood money, blood money, and blood money, separate determinations can be made.

Propose: 

"Death" is an idea that has always occupied the human mind and to find a solution to this inevitable phenomenon, a multitude of rituals and beliefs have been formed around it and it has become one of the most important initiation rituals in the history of human life. The term “initiation” refers to a set of rituals and teachings that are repetitions of the mental archetypes of any society and ultimately bring about a fundamental change in the physical, cultural, religious, and social status of an apprentice. Although the rituals related to “initiation” have changed over time, but they have continued to this day and are performed in all the prominent and sensitive moments of human life from birth, puberty, and marriage to death.

Method and Research: 

This research has been done by library method and document analysis, by an inductive method based on the observation of events and their relationship with each other to reach general rules.

This article, for the first time, takes a closer look at the rituals of death in Iranian belief and has shown that the three stages of "separation, transition and connection" that can be recognized in all rituals, are slightly different in the rituals of death in Iranian belief, which, of course, can be the result of Iranian dualistic thought: According to the present study, each of the stages of separation, transition and connection in Iranian rituals can be classified into two parts: "first separation and final separation, two-period transition, first connection and final connection."

Death as one of the most important problems of human beings has always attracted the attention of thinkers. Mullā Ṣadrā has dealt with this problem in most of his works. He divides death into two voluntary and involuntary types. The experience of voluntary death is possible for some divine saints who attain a station whereby, through the purification of the soul, they develop the ability to part from their bodies and travel to the higher worlds. The second type is the same natural death. Mull Sadra views death as an ontological affair, and since being good is essential to each and every ontological affair, he maintains that any kind of death, whether natural or untimely, is a natural and good event. Given the fact that untimely or sudden death occurs because of disease or accidents and apparently seems bad, how could one explain the goodness of death in its general sense? Another question is: What is the role of purgatorial development in this process? This paper is intended to respond to these questions based on Mullā Ṣadrā’s philosophical thoughts.

The matter of death has been and is always one of the greatest and major questions of the man. “What is death and how we can escape from or even having philosopher's stone” have been always one of the important subjects in the literature. The matter of death had and has also certain position in philosophy. Hence, this philosophical issue has been emerged in different forms in literary and artistic works. Samuel Beckett as one of the founders of absurdism in theater literature has coped to this important philosophical matter in his works. This article tries to review Heidegger’s perusal of the death matter in the play of “Endgame” by Beckett. In this research, the content of anguish and its relation with the matter of death in the play of Endgame which is resulted to prolonged ennui and absurdity has been reviewed on the strength of Heidegger’s opinions. Whereas, in this article the point is Endgame play with the theme of death, we should say the Heidegger’s philosophy could make us clear the philosophical sights of Beckett about death in this play. This matter could not just help the audiences of Beckett theater to better understand his hidden philosophy in his theater works, but could be a clear practical example to understand the phenomenological meaning of death from the Heidegger’s opinion. This article has been written by citing to librarian resources and references.

Iran has a rich cultural and historical background, and many of today's cultural moods and human behavior are from the distant past. "Death" as an important subject has occupied the human mind and thoughts in all eras. Death has received a lot of attention in the remnants of ancient Iranian myths and culture. Since the culture and believes of a nation could not be easily forgotten and remained permanent, so there should be similarities between these two parts of Iranian literary works, mythology and mysticism. My thology and religious myths have given mystical poetry more depth and has contributed to its richness. This article deals with the types and types of death, namely: emergency death and optional death in the myths and ancient section, as well as mysticism. Given that the Qur'an and hadiths have not been separated from mysticism, a brief look is taken at it.

Gradation of existence is one of the most important philosophical principles in the transcendent philosophy of Mullā Ṣadrā, based on which we can answer this question, "what is the relationship between the three phenomena of awaking, sleep and death". This article shows that this relationship is longitudinal and gradational. Therefore, the difference between these states comes back to their commonality, which is: intensity and weakness in the concentration of the human faculties on the outer or inner aspects of the soul and the worlds corresponding to them. Awakening is the result of maximum attention of the soul's forces to the material world and external senses. When this attention weakens and the soul pays attention to the imaginal world, sleep occurs. Finally, with the complete disconnection of the soul from the material world, death –in its common use- occurs. In another sense, however, due to the substantial movement of the soul, death is a constant state that dominates other states. In a deeper view and based on the personal unity of the soul, awakening, sleep, and death are manifestations of the soul, and while maintaining a gradational relationship, they are unified with the soul and with each other.

Heidegger in Being and Time represents death as the culmination of Dasein in his life possibilities and considers it as a criterion in defining the totality of Dasein, its suspension of being and its stretching from birth to death, a problem that apparently has no connection with the Christian tradition. However, the explanation of death, especially in Section 48 of his magnum opus, refers to a humanistic conception of death in the late Middle Ages which was first introduced by the Czech poet Johannes von Tepl in the 15th-century poem The Plowman from Bohemia (Der Ackermann aus Böhmen). Heidegger’s particular use of a quotation from this poem in explaining Dasein’s death in Being and Time on the simultaneity of Dasein’s birth and death builds upon the humanist interpretation that Johannes presents in his poem. Johannes’ Christian humanism in rendering the relationship between humanity and death was not only gave a new interpretation of death in line with late Medieval philosophy but also played a significant role in the development of humanist thought at the beginning of the European Renaissance. Exploring Heidegger's use of Johannes’ poem in processing the concept of Dasein’s death not only makes it possible to better understand this phenomenon but also reads Heidegger's non-religious philosophical framework in defining Dasein in light of Christian humanism.

Death is the most complex and fundamental concept in Bergman's eyes, which was the main axis and the main concern of his works, but it must be said that Bergman, like Bresson, exposes human beings and their pains and sufferings, he is a kind of Christ of mankind. In this research, the author is trying to investigate the concept of death in cinema, the result of the research indicates that Bergman presents death as a constructive and instructive journey, which the audience must be interested in identifying with in any way and with any perception. The character is filmed and accompanies him. But the most immortal work of Bergman, in which he shows his main concern, i.e. death and the search for God, is the seventh seal. A tired knight returns from the crusades and starts a chess game with death in an unequal fight. In this work, Bergman shows a contrast between art, civilization and nature in various scenes. Creating different moments from the lives of people who each think differently and how each one faces death is one of Bergman's masterpieces. The climax of the film is the scene where the knight confesses to the priest inside the church and the camera shows a close-up shot of Death in his black cloak sitting instead of the priest.

Deploying pragmatic schemas is contingent on the given situational and utilitarian context. This research aims to categorize the pragmatic schemas under the conceptual framework of "death." The research's purview includes narratives that ponder the notion of death within age groups "B" and "C" (+7 & +10). Each narrative is a tangible scenario for eliciting the schema associated with death. Through a blend of descriptive and analytical methods, this study probes the influence of a narrative's contextual backdrop in molding and eliciting the death schema. The study delineates seven pragmemes defining the concept of death: self-annihilation, homicide, thanatophobia, evasion of death, suspended death, mourning, and natural death. Given the inherently abstract and philosophical nature of the concept of "dying," which typically triggers adverse emotional responses, the mode of its communication to a youthful audience has, historically, been a matter of debate. The findings indicate that stories can utilize various pragmatic schemas to generate a secure environment for the assimilation of life's distressing events, like "death." In a pioneering exploration, this document delves into the study of thanatology within children's literature.

Death is a fundamental concept in Western philosophy. Undoubtedly, many distinguished philosophers have tried to examine this notion and share their insights. In this essay, we briefly present views of thinkers such as Friedrich Nietzsche, Søren Kierkegaard, Martin Heidegger and Norbert Elias and then attempt to enter the realm of postmodern thought through pre-modernist and modernist notions. In order to limit the scope of postmodern discussion in this essay, postmodernist literary novels have been taken into consideration. To this purpose, two important works of this genre, in which the concept of death is central, namely In Watermelon Sugar by Richard Brautigan and Slaughterhouse-Five by Kurt Vonnegut, were analyzed. Also, in the Iranian story section, a short story by Yaqoub Yadali entitled "Hamhameh"(Uproar) has been discussed. Findings suggest that to postmodernists, the meaning of death is significantly different from that of modernists. Their point of view also affects their reader’s mentality and provides them with a new outlook on death. Postmodern readers come to the understanding that death is a simple and unique experience.

NDE is one of the topics of interest to thinkers of experimental sciences, philosophers and theologians. Psychologists have sought to analyze these experiences by presenting models of expectation, birth and personality transformation. Physiologists have considered it as hallucinations caused by the release of hormones, damage to the brain region, changes in blood pressure and similar causes. Each of the theories has flaws. The problem of research in this article is to compare the views of Islamic philosophy and mysticism on these experiences and compare them with the opinions of physicists. The research method of this article is based on the collection of mystical and philosophical information from the library method and data processing from the descriptive-analytical method and a critical comparison with the view of physicalists. The findings of this research indicate the possibility of comparing these experiences with mystical intuition and as a result of using mystical and philosophical criteria to evaluate them. The possibility of referring to these experiences to prove life after death, accepting moral and mystical advice on them while accepting the possibility of error and avoiding jurisprudential inferences based on them are other findings of this research.

Death and life have always been two prominent and significant concepts in the view of thinkers, and many contemporary poets of Persian language and literature have looked at the issue of life and death from different perspectives. Among these, the point of view of three prominent female poets after Nima (Simin Behbahani, Forough Farrokhzad and Tahereh Safarzadeh) is of special importance. The main goal of the upcoming research is to explain the views of these poets on the concept of life and death and the impact and evaluation of the qualitative content of their thoughts and feelings in evaluating this issue.

The research method in this article is descriptive-analytical, based on library studies and document analysis. The statistical community of the research includes a selection of the poems of all three poets, in which the categories of life and death are considered.

The research findings indicate that the individual, social, belief and ontological components and propositions are in complete relation with the viewpoint of each of the poets regarding the issue of life and death.

The research results indicate that the concept of life for Forough Farrokhzad with all its charms and beauties is sometimes absurd and meaningless. After being disappointed in love, being away from his child, being dissatisfied with the patriarchal and discriminatory society, Forough must somehow suffer from life and review its boring images every day. Simin is also pessimistic about life and this pessimism is the destruction of individual and social hopes and ideals in the poet"s mind. Safarzadeh is opposed to life and its sufferings, but he considers life and death with religious viewpoints, and this is the reason why he considers death as a kind of holy transcendence and life as a source of happiness.

Heterophenomenology is a term that Daniel Dennett coined against Husserl's phenomenology, and its purpose is to study the problem of consciousness from a third-person perspective, as it is common in natural sciences. Dennett criticizes Husserl's phenomenology due to its reliance on introspection and first-person perspective, as well as the impossibility of creating consensus. The result of this is skepticism, solipsism, and relativism. According to Dennett, the only appropriate and agreeable method for studying consciousness is to focus from a third-person point of view on the processes that go on in the brain and are not available through introspection and from a first-person point of view. Accordingly, Dennett proposes the model of multiple drafts in opposition to the Cartesian Theater to investigate consciousness, according to which all types of perception, thinking, and mental activity in the brain are accompanied by multi-directional processes of interpretation, description, and development within sensory data. In this article, the claim is defended that the criterion of essentialism to distinguish introspection from the phenomenological method, considering Dennett's opposition to any essentialist approach to studying consciousness, is not effective. In addition, the priority of the third-person approach leaves no room for a phenomenological science based on the third-person perspective.

The concept of death inspires many philosophical reflections about human existence which can affect the human attitude and lifestyle. As two existentialists, Mullā Sadrā and Jaspers have paid attention to the issue of death and its various dimensions. The comparative and analytical comparison of these two philosophers' opinions shows that from the religious and mystical perspective, Jaspers considers the human encounter with the issue of death, as a boundary situation, one of the most effective factors in the formation of identity and finding the real Human self. By distinguishing the three stages of human empirical being from existenz, he believes that in the transcendental level of existenz, man has the ability to understand immortality or in other words "deathlessness" and the "experience of immortality" and without having an immaterial dimension, he can experience it throughout his life. On the other hand, according to Mullā Sadrā, death and immortality have a broad and systematic conception that is derived from his philosophical and religious foundations. In Sadrā's philosophy, there is a correlation between the immateriality of the soul and its immortality; the soul has different levels of existence, which can achieve the level of immateriality through undergoing the substantial movement and passing its evolutionary levels of existence. The soul does not disappear with the destruction of the body, but, because of being immaterial, it will survive forever as eternal and immortal. He considers immortality to be a graded truth which exists both in this world (through voluntary death) and in the next world.

Symbolist is one of the important and outstanding features of contemporary social sonnets. In these poems, some of the motifs have multiple meanings so they have became to symbols. Symbols and motifs are significant in analysis of literary works and stylistic studies, so by correct understanding of these symbolic motifs we will understand the perspective of the poet, his mentality and spirit, the level of thought and the political-social situation of his life period. Death is one of the oldest motifs that has been in the center of attention for a long time due to its tremendous impact on a person, and many works of art have created about that. From the total of 1236 sonnets written between 1350 SH to 1384 SH and collected in the book of Contemporary Social Sonnets, “death” is the motif of 308 sonnets, i.e. 25% of them. According to stylistic studies, the words "night", "day and morning", "silence and darkness", "spring", "reservoir and winter", "tree", "garden", "wind", "soil", "fire" " and "sun and sunshine" are motifs that came from the nature. Because of their multiple meanings, this motifs have symbolic function. This article tries to analyze these symbolic motifs with a descriptive-analytical method and express their exact meaning in some verses of contemporary social sonnets. Keywords: contemporary social sonnets, death, motif, motifology,

Postmodern poetry can be considered a suitable reference for archetypal studies due to the features of revealing and deconstructing verbal topics. Considering the frequency of words, combinations, and phrases related to anger, violence, and death in postmodern Persian poetry, the present research attempts to ask the following question: “What is the reason for the exaggerated tendency of postmodern poets to express anger and violence in poetry?” The images of “social anger and violence”, “individual anger and violence”, and “death” are studied in the works of a number of postmodern poets using a descriptive-analytical method and considering an interdisciplinary approach to literature and two domains of social and psychological criticisms. The result showed the plurality of reflections on “violence towards women”, “moral corruption”, and “war”, as well as anomalies such as “drug use” in the social violence section, and “suicide” and “masochism” in the individual violence section result from the pervasive “death thoughts”. “Thinking of death” which is one of the signs of the dominance of the shadow archetype in the human unconscious mind, has become a current thought in postmodern poetry and, as a result, one of the main features of this poetic flow. Postmodern poets have tried to show the darkness and inner anger in society, using isolating and terrifying images related to “death” and also move their poetic process towards darkness and terror, so it can be claimed that among the contemporary poets, those who were unconsciously defeated by the shadow archetype have turned to postmodern poetry.

Understanding and examining the thoughts of a poet becomes possible when we can familiarize ourselves with their works and make an effort to find the poetic forms and specific language that they use as tools for expressing their ideas. This allows us to understand the extent of their impact on the audience and readers. Therefore, the aim of this article is to explore the concepts of death and life through the perspective of contemporary Iranian poet Tahereh Saffarzadeh, who employs a simple, conversational language and a kind of humor in her poetry. This style forms the foundation of her poetic language throughout her works. By recognizing the thematic elements present in her poems, we become familiar with the foundations of her worldview. On the other hand, the author intends to describe the image and concepts of death and life in Saffarzadeh's poetry.

Stoicism was an outstanding one among the Hellenistic schools, and have had a great influence on Greek and Roman life. Among its teachings the so called conatus (self-preservation) specially has been asserted as the first command of every thing’s nature: the first instinct and the first desire of every living creature is an effort for preserving itself in accordance with nature. Thus, the virtual life for a man is a life according to nature. The so-called suicide, on the other hand, has been an act of frequency among Stoic philosophers: a considerable number of them committed a voluntarily death. Is this inconsistent with their so-call conatus? Though they sought to avoid Platonic dualism between the sensible and the intellectual, nevertheless they accepted that the logos was the true-self of man and nature, and human reason was immortal for them. They condemn any kind of suicide, as well rejecting the passion-rooted seeking of saving life for any price. According to the Stoics, the death of an ideal wise is the same as conformity to nature and reason, whether it happens so-called “naturally” or of her/his own free will; because for such a person, will, nature and reason are compatible with each other. But since they have not considered anyone, not even their leaders, as an example of absolute wisdom, in fact, no suicide attempt can be considered entirely approved by them. Readiness for death among the Stoics must be seen as a foundation of calm and active life in individual and social life recommended by them: calm spiritually, active practically.