Hafez's Simplified and interpretable language has been formed from underlying layers that the layers can be read and understood by everyone. But understanding and receiving the underlying layers depends on the principles of interpretation and decoding. In the arts and language of Hafez, there are abilities that help us to elaborate hermeneutic principles based on semantic multiplicity. In this research, it has been attempted to examine and to analyze the correspondence of these approaches to hermeneutics and the level of quality of interpretation in Hafez's poetry, by studying the interpretive approaches to some of the Hafez spatial systems carried out by various contributors. Although the semantic plurality and uncertainty of meaning and the correspondence of the nature and quality of Hafez poetry to the hermeneutic science is undeniable, it is true that some of the interpretations of the Hafiz lyrics despite the beautiful evidence and evidence, are in keeping with the horizons of expectations of the text and frameworks are not readers expectations. The aim of this research was to answer the question of “in what fields Hafez's poems can be criticized and studied with great theories such as Swedenburg, Paul Ricoeur, Gadamer, Iser and Hersh?”

 The science of hermeneutics examines the flow of understanding and its methods. What is the text, what is the meaning, what signs are there to reach this meaning and what is the role of the audience in front of the text. The origin of this science goes back to the interpretation of holy texts. Trying to understand the true meaning that only the possessors of knowledge can understand.

 The method of data collection was library and descriptive-analytical method was used for data analysis.

 The topic under discussion in the science of hermeneutics is texts, and how the audience understands the text and their unanswered questions is a topic that is followed in this science. Traditional hermeneutics believe that the text has a definite meaning that must be discovered. In contrast to modern hermeneutics, they have declared the death of the author, in the sense that the text is re-created with each reading. Hermeneutic discussions have also been extended to literary texts due to the similarities between literary texts and holy texts, and one of the books that has a lot of potential for analysis from the hermeneutic angle is Masnawi Ma"ani.

 The results of the research show that Rumi has used donkey, snake, wolf, dog, lion, cow, mouse, etc. in order of frequency as a symbol to introduce the self.

Phenomenology has been one of the most important and influential movements in the philosophy of 20th Century. This movement, which is an exclusive theoretical and practical approach to the phenomena in multiple branches, in the philosophy of Edmund Husserl, called classical or transcendental phenomenology, introduced a method of defining how to give a meaning of the universe in the consciousness and consistency of such a conception in mind; whereas phenomenology in the view of his genius former pupil: Martin Heidegger, another great German philosopher who was not fully committed to him, got shaped in a hermeneutic form (and so called “Hermeneutic Phenomenology”), in such a way of disclosure of existence (for any unique human being; from the beginning of history and all the time and places): Aletheia; the meaning of truth in ancient Greek belief, which Heidegger referred to it. Developing such an idea in analyzing works of art, in fact visual arts such as painting and architecture, Heidegger showed how a work of art can set up a world and how to disclose existence, a process called “Hermeneutic Phenomenology of Art”. However, philosophers and exporters in this philosophical topic, has extensively regarded historical and theoretical parts of phenomenology, but not the practical part, which pays attention to a concrete work of art, as the intended phenomena. The present essay introduces a new interpretation of a famous painting as a case study, chosen from the history of Iranian traditional painting, belongs to Tabriz from the era of Safavid period, in the title of “Fereydoun as a dragon, tests his sons” in such a sample of hermeneutic look of Heidegger to the “shoes” painting by: Vincent van Gogh, in the book of “The Origin of the Work of Art” in the middle of 20th Century, which belongs to the second period of Heidegger's philosophical work, wherein opposite to the earliest period, he was fascinated by art works. The ultimate conclusion can then give a method of interpreting and self-reading all kinds of paintings, regardless of the intention of the artist and the grounds (specified time and place) of the creation of the work of art (painting, in this topic), introducing a way how to set up funds of a world of any human being. And finally in this article, the concept of “Unworld”, which has been procreated from the concept of Heidegger’s famous term: “world” in it’s different meaning, is resulting from the conditions of the disclosure of existence, when the world is not in the mood that it has to be, and has been consolidated in the process of the intended painting’s hermeneutic phenomenology, and beyond that: in other works of art, based on the dasein’s situation in the world.

The paper focuses on the design subject. The matter of what is design and how it is work has always been the concern of theorists and researchers. In the meantime, it is a significant issue that rather than the existence of a single theory, we have a variety of views and context of the attitude. When uncertainty arises, we are confronted with a phenomenon that is not linear and cannot be perceived just through the logic. Some find metaphysical aspects, some have examined unconscious from the psychological point of view and others have a mystical look at the issue. As a designer and audience, this unknown aspect of design can be mysterious, stimulant, frightening, or enjoyable. Design as creativity arises from designer’s individual physical and mental world, it is created by imagination, measured by science, and once again returns to the imagination. A set of internal and external components is involved in design. Recognizing this design space and its transformation is what matters to us. An approach is process-centered. In addition to studies on the characteristics of physical space, mental space’s characteristics are also should be studied. We consider this mental space to be the same as the imaginary space of the designer. Direct access to the imagination mechanism is impossible, but we can try to explain its effectiveness on the structural levels. The research method is a synthesis of narrative and hermeneutic-phenomenological analysis.it is process-oriented and focuses on the design process. The research is based on a set of connections and interactions. creativity should be relying on the imagination. It is a lovely escape with no limits. in imagination, everything is possible. It is an experience of freedom. Everyone’s having a unique imaginary space that is quite different from others. A series of individual elements forms the characteristics of this space. in a design process, designer flows in continuous transition between this imaginative space and physical space.

Hermeneutics is the battleground of new theories in the field of understanding and interpretation. The study of the principles of hermeneutic theories is important because it provides a suitable ground for critique and analysis. Understanding and interpretation as the central point of hermeneutic discussions is founded on the four pillars of author, text, interpreter and context. The distinction of hermeneutic approaches depends on the role of each of the four pillars in the process of understanding and interpretation. In this article, the foundations of the hermeneutical views of the contemporary Islamic thinker, Mohammad Mojtahed Shabestari, and the contemporary Western hermeneuticist, Hans-Georg Gadamer, are scrutinized and analyzed. A comparative study of the four pillars of understanding and interpretation shows that the difference between Shabestari and Gadamer’s views in the first pillar, i.e., the role of the author, is definite and absolute; the principles of their views in the other three pillars, however, have both commonalities and differences. The most important commonalities are pluralism in text interpretation, the fact that understanding is affected by history, the necessity of interrogating the text, the hermeneutic cycle and the effect of presuppositions in the process of understanding and interpretation, and their main differences are over the effect of the role of the author’s intention or its elimination in the process of understanding and the methodicalness or unmethodicalness of the process of understanding.

Objecting Quine’s indeterminacy of translation, Hans Glock claims that this thesis is in a dilemma about how to face the hermeneutic circle: On the one hand, opposing optional hypotheses, Quine prevents accepting the hermeneutic circle, and on the other hand, the scenario of Quinn's radical translation actually uses optional hypotheses and hermeneutic circles. Here, after explaining Glock’s claims, I investigate the nature of the hermeneutic circle and its various versions, and, on this basis, defending convergence between hermeneutic circle, according to Gadamer, and indeterminacy of translation, I object Glock’s claims.

Although nationalism is honored alongside the Islamic unity in the upstream documents of the government, in practice this concept has not been streamed in the next layers and has resulted in uncertainties and , therefore, has harassed cultural and public policy makers in this area, knowingly or unknowingly.Policymakers create a hermeneutic situation for themselves as a result of every stance they take, and their a posteriori understanding is under the impact of their a priori one. These are hermeneutic situation creators some of which have key roles in giving rise to a chain of hermeneutic situations in the domain of nationalism.In this research, by using the thematic analysis method, “conflict situations in the domain of nationalism, based on six sources including upstream documentation, statements by Imam Khomeini and Supreme Leader of the Revolution, strategies and policies adopted by governments, comments by the authorities, elite and educators, models and patterns of public and cultural policy, and also 21 dilemmas of the Council of Europe are extracted , and also by using the ISM method the key hermeneutical situation creators are identified and explained. In the end, the most important hermeneutical challenges in the domain of nationalism based on hermeneutical situation creator relationships in the nationalism domain, have been analyzed.

Various methodologies have been proposed for phenomenology as a qualitative research method. This diversity can be divided into two main approaches: descriptive phenomenology and hermeneutic phenomenology. In this article, while emphasizing the inseparable link between philosophy and method in phenomenology, an attempt is made to explore the philosophical foundations of hermeneutic phenomenology and to trace this link in the research process. Accordingly, we first refer to the historical contexts of the emergence of phenomenology, and clarify the relationship between hermeneutic phenomenology and descriptive phenomenology, then Through the discussion of the views of Heidegger and Gadamer, it is shown that philosophical foundations in the method of hermeneutic phenomenology play an active role throughout the research process and give structure and direction to how we deal with issues and problems in research. Openness to the phenomenon and being in constant dialogue with it, is the most important feature of this method that as a praxis, from the moment of choosing the subject and encountering the research literature and theories to collecting and analyzing data and writing the research, it is always present and guides in the research.