جستجوی مقالات مرتبط با کلیدواژه "romanticism" در نشریات گروه "فلسفه و کلام"

The main issue of this paper is the comparison of the image in the poems of Nima and Forough Farrokhzad from the perspective of the romantic image. The romantic image of the epistemological and aesthetic nature is fundamentally different from the classical, symbolic, and surrealistic. The author has tried to explain the nature of the romantic image in three parts: in the first part, explains the special features of romantic imagery with the discussion of four characteristics: transformation in nature, shadow of the image, dynamics, and individuality in the image. In the second section, the relationship between the images and the position of the image in the context of the poem is examined by two characteristics of continuity and maturity. The paper is based on a descriptive-analytical method based on a library method.

Classical hermeneutics is an attempt to achieve how to read and understand the text by providing methodological principles and foundations. Schleiermacher is considered one of the prominent classical hermeneutists. Schleiermacher's most prominent role in the growth of hermeneutics is the transition from specialized hermeneutics and the formation of general rules and principles of interpretation, which are often derived from his contemporary literary discourses. This can provide valuable points for Islamic commentators. By studying Schleiermacher's hermeneutic theories in a descriptive and analytical way, this article seeks to answer the question, "what are the most important principles of Schleiermacher in the analysis and reading of the text?" and "how is it analyzed considering the teachings of classicism and romanticism?" The result is that Schleiermacher's influence from his contemporary literary schools has caused him to avoid inducing a one-dimensional approach to understanding the text and to use different literary discourses, such as classicist and romanticist discourses. Among the classicist principles of Schleiermacher's thinking are: centrality of the author, purposefulness of the meaning, the objectivity of the meaning, the trans-historicity of understanding, the methodology of understanding and the importance of linguistic rules. The romanticist principles of his thinking are: priority of author's individuality, priority of misunderstanding, inadequacy of linguistic rules, the impossibility of completely avoiding the influence of assumptions, possibility of attaining an understanding superior to the author's own understanding, and the human nature of the Bible's propositions.

This paper is a critique of Romanticism as aesthetics of Loss. As a case study, thispaper addresses Life is Elsewhere by Milan Kundera. Nietzsche says that an abundantlife is a major cause of the tragic pain (strong pessimism), but a sense of Loss resultsin Romantic aesthetics (week pessimism). A Romantic poet has been chosen as aprophet who has access to a transcendent truth: a truth going far beyond ordinarylimits; he is a person who is immature because he used to live in ideal place (womb).The Lyrical age, according to Kundera, is youth, and this novel is an epic ofimmaturity. The lyric poetry is an ideal form for self-expression, a poetry that praysemotions per se. Actions have been replaced by enthusiasm. In practice this meansthat poetry retreated into the soul. The current study has already described the crisis of Romanticism as an excess of subjective interiority. A poet goes so far as to say Reality is reduced to the aesthetic object. An action is the conditioned domain, but passion aims at the unconditioned. Poetry is always separate from the reality. These inward explorations do not coincide with the external world. This article focuses on a young poet, Jaromil, who aimed at the unconditioned, yet his last attempt ended in failure, falling under the spell of metaphors.

IntroductionIn the present day, we are faced with the dominance of various and plural and sometimes contradictory discourses, which is famous for the post-modern era, and this relative dominance seems to be trans-valued and trans-ethical, after the weakening and falsification of any rational, scientific, traditional and discursive criteria in the explanation. The criteria of correctness and truth are summarized in the pseudo-proposition "every opinion is respectable and worthy of value". Therefore, it is necessary to understand our times better by returning to the beginning of the modern era and analyzing the discourses and values of that era. According to the author's belief, it is indispensable to deal with the romanticism movement as one of the influential and revolutionary discourses that emerged simultaneously with the development of modernity in the West. In this article, an attempt is made to examine and analyze the movement of German romanticism from a philosophical point of view. Historically, the tradition of Romanticism was strongly highlighted by German thinkers in the late 18th and early 19th centuries. Although traces of the ideas of this intellectual tradition can be found in Britain and France, it was in Germany that the artillery of romanticism was equipped with intellectual-philosophical tools as much as possible and, according to Isaiah Berlin, led to a revolutionary change in the history of Western thought. Specifically, the opinions of two important philosophers of this era, namely the peak of enlightenment, Immanuel Kant and the spirit of storm and drang, Gottfried Herder, are of great importance in the romanticism movement. It should be noted that although the philosophy of German Romanticism is influenced by what Isaiah Berlin calls anti-Enlightenment thought, but considering the influence that this tradition has received from the aspects of Enlightenment thought, as Friedrich Beiser believes, it cannot be completely anti- Enlightenment summed up. From this point of view, considering the deep relationship that exists between contemporary philosophies, especially the so-called continental philosophy with the philosophy of romanticism and specifically the Athenaeum circle, here an attempt is made to give a general outline of this relationship, both in the final summary of each It should be drawn from the middle parts of the writing and in an independent part under the title of the legacy of romanticism in contemporary philosophy. MethodologyIn order to carry out this research work, we will use Berlin's and Beiser's works, specifically their works about romanticism, in order to explain Their ideas clearly. Therefore, we have attempted to critique and evaluate their views by utilizing descriptive-analytic methods, relying on commentators' views, and utilizing authentic sources and documents. Discussion and ConclusionRomanticism's attempt to create a synthesis between the Enlightenment movement and the storm and drang movement in the field of philosophy, aesthetics, ethics and politics is worthy of consideration. But too much emphasis on modern anti-rationalist ideas, in certain circumstances, leads to the collapse of order, ethics and political order. Although the ideas of romanticism in the individual sphere can moderate the problems of modern life, it is necessary to reconsider the application of these ideas in the collective sphere.

The Romantic movement sees intense emotions as a genuine source of aesthetic experience and focuses on emotions such as fear, horror, and amazement, especially in the face of the transcendent beauty and beauty of nature. In this article, by analyzing the poems of Fereydoun Moshiri and William Blake, the attitude of these two poets to the commitment to moral values ​​in the context of the concepts of the school of Romanticism is examined. The importance of writing is due to the prominence of human emotion in contrast to moral rationalism in the poems of these two poets.

The analysis of the poems showed that Moshiri and Blake's romanticist ethics move from a purely individual ethic to a kind of other ethic for the emergence of a moral society. In Blake's poems, the subject of moral values ​​is based on the moral attitudes of philosophers such as Rousseau, but Moshiri explains his view of moral values ​​based on concepts rooted in Iranian and religious culture such as love and self-sacrifice. The alignment of these two poets is in the emphasis on moral values ​​that are independent of rational utilitarian calculations and based on an unexpected love for humanity. It should be emphasized that the moral values ​​in the poems of these two poets are derived from the foundations of romantic thought and based on it.

We Know that during second half of 19th century and first half of 20th century mathematical-natural sciences impressively developed in Germany and scientists as Planck, Einstein, Schrodinger, Haber, Helmholtz ,… presented their most important works and theories in this period. At the same time , Jaspers ,in the second decade of 20th century, claimed that German " Wissenschaft " is distinct from science. Wissenschaft for him, is concerned with the totality of life, culture, literature, history ,Arts, ethics and etc.In this article we will try to establish that the German understanding of science is grounded in concepts of historicism, historicity and bildung (culture ,education,…). These concepts of course are heritages of German Romanticism

The main concern of methodological hermeneutics is finding of system of rules of deduction of meaning. Methodological hermeneutics like methodical hermeneutics believe in significant of text and definite determination of it regardless of the reader since Schleiermacher onwards, methodical hermeneutics had technical identity only but methodological hermeneutics has scientific identity. The center point of this system is its conception from meaning that this conception largely arising from principle of aesthetic and romanticism. Because of Schleiermacher's ideas are axis among other great thinkers, recognition of his semantics is important for accurate recognition this hermeneutics. Thus in this article, attempts to paid to nature of meaning in view of Schleiermacher that in judgmental signification is inspector to concept of individuality and in notion indication is related to application of word. In his view, text is manifestation of author’s individuality completely and its meaning return to his individuality. The meaning of words determine through their application in particular context, but there is an internal unity among them in different applications that be called spirit of meaning of word.

The present paper examines Gadamer’s account of tradition and the relationship between reason and tradition. At first, with reference to the etymological meaning of tradition, the three definitions of tradition (anthropological, theological and traditionalistic) are presented and compared and finally Gadamer’s definition of the words is given. Trying to revive tradition, Gadamer begin with an explanation of the relationship between reason and tradition with an analysis of Romanticism’s and Enlightenment’s approaches to tradition and reason. While the Enlightenemnt philosophers put tradition against reason and in this way discredit tradition, Romanticism philosophers, despite their confirmation of the contrast between tradition and reason, overreact to this position by rejecting reason in favor of tradition. However, a lot of philosophers including Michael Oakeshott, Edmund Burke, Friedrich August von Hayek and Gadamer seriously have rejected this account of the relationship between tradition and reason which separates these two spheres of reason. These philosophers think that the relationship between tradition and reason is so complicated that we cannot put them in clear contrast. Tradition is not an obstacle in the way of reason. In some respects it even supports reason. There is no reason without tradition.

Georg Wilhelm Friedrich Hegel, the last official and great and philosopher of the modernity period, has divided art into three historical eras: symbolic, classic, and romantic ages. This division is based on his dialectical logic on the one hand, and is inspired from the three essences of Christianity on the other hand; and it is mostly based on dualism, categoricism and historicism of the period of modernity. The symbolic era is the age of insignificance of soul compared with material, classic is the age of equality of the both, and romantic is the age of superiority of soul and breakup of material. The allusive aspect of the symbolic art is due to soul's abstraction and absoluteness and indeterminacy of its essence and non-materialization of the concrete identity. Hegel considers inexplicability and appearance and allusion and symbol as the main characteristics of symbolic art; but the traditionalists have a completely different approach and consider unity of the absolute matter and the visible world as the main characteristics of symbolic art, and makes the allusive and symbolic language as the formal language of tradition and religion and art. There is a complete correspondence and conformity between the world inside and the world outside; and the symbolic aspect of art is due to the manifestation of the absolute and infinite being in a conditional and finite form. In the nominal language, allusion does not identify a sign or an agreement rather the reality of allusion, according to the genetic rule, is the real connection of different worlds and the different degrees of being; and form in the order of sensuous is equivalent with reality in the order of rationality.