Nowadays hermeneutics is turned into the focal point of contemporary thought due to its special attention to the idea of language and interpretation so that some knowledge subjects such as theology have obtained greater relationship with language or understanding contexts.
In fact, it is through the concept of "understanding" that man steps into the realm of "action". This has further disclosed the necessity of reviewing the principles of leading texts – religious ones – including Nahjul Balaghah so that it could turn out to be responsive to a portion of needs and religious questions of contemporary man. The necessity of hermeneutic analysis of Nahjul Balaghah is more apparent when the position of "Imam Ali" is considered as the mental, cultural, literary, and Islamic base.
This paper tries to briefly offer an approach for hermeneutic analysis of Nahjul Balaghah, stemmed from that of Schleiermacher in general.
Hermeneutics is a skill to understand the speaker for what he has said; nevertheless, language is still the key. By accepting the structural relationship between the style and idea, and regarding syntax as the creator of idea and its bearer, we will have a sustainable bond between syntactic structures of sentences and the style.

In this essay، the phenomena of Fear and Angst/Anxiety are analyzed according to Martin Heidegger''s thought only to prove that this significant field is defined as a range of inauthentic fear toward authentic angst/anxiety and it is revealed as»happening of truth«or strife between world and earth، in Film world? Monster، as embodiment of evil and constitutive pivotal element of Horror Cinema، is manifested in various appearances of phenomenon of fear. Horror Cinema via projecting fundamental elements of Heidegger''s hermeneutic analysis (i. e. world، death، guilt، projection، authenticity and inauthenticity) in relation to Dasein in terms of a cinematic expression، makes the disclosure of»happening of truth «in the film world possible via audience contribution، as an interpreter Dasein engaged in this world، and the revealed» happening of truth«in this Cinema is phenomenon of Fear and grounding attunement of angst/anxiety which is uncovered in a cinematic world.

Etant polysémiques, les textes sacrés exigent une conscience élevée de leur réalité existentielle. Selon Heidegger différents modes de lexistence ont un impact sur l'état de la conscience et le niveau de la compréhension. Henry Corbin affirme que lapproche de Tawil correspond à un degré de la manifestation de lexistence: la présence pure qui répond à une compréhension parfaite de la réalité. Ce genre de compréhension implique la logique du contradictoire, théorisée par Lupasco: lon voit comment l’actualisation d’un aspect de la réalité, potentialise l’autre aspect de cette même réalité et fait émerger des deux sens opposés, un troisième, »Tiers inclus«, tout à fait nouveau et différent. Le Tawil par cette actualisation particulière dévoile le sens caché du texte. Dautre part, via limagination transcendantale et les images-corps, le Tawil accède à une manifestation de la réalité dans l'âme sous lavènement de la Face divine. En harmonie avec lUn absolu, ce monde imaginal fournit alors une vision imagée du sens et assure linterprétation herméneutique verticale et profonde du texte sacré: son Tawil.

One of the most strategic decisions of Imam Ali (AS) during the era of the Islamic Caliphate (35-40 AH) before the beginning of the wars of the said period, was the strategy of peace and reconciliation with factions and opposition groups of his time.This paper aims to examine the veiled semantic layers of the text based on the approach of hermeneutic analysis of German theologian Friedrich Schleiermacher according to Sermon 40 of Nahj-al Balaghah.The basis of the author-centered hermeneutic approach and research methods in understanding the leading texts (non-revelatory sacred religious texts such as the Nahj-al Balaghah) is based on the principle that by applying two paradigms of grammatical and psychological interpretations deal with the hermeneutic reading and scientific scrutiny of the strategy of peace and reconciliation in the practical biography of Imam Ali (AS) and answers the question of how this strategy relates to peace in the hermeneutic reading of Sermon 40 of Nahj-al Balaghah with its historical narratives. According to the available data, the category of peace and reconciliation has a very practical and obvious manifestation in Imam’s theoretical and practical biography, the implications of which are exposed in the article.One of the results of applying the theoretical framework of the stated method is that in Sermon 40 the novelty of Ali’s (AS) way of thinking regarding peace and reconciliation is emphasized and leading the society towards security and tranquility in critical social conditions is a category that Alavi discourse takes the lead.The expert audience, in the process of reading the text, is guided to ascertain the semantic layers below the text and it seems that the analysis of the semantic infrastructure of Sermon 40 from the context of grammatical and psychological interpretation paradigm in author-centered hermeneutics, can express the spirit and judgment of the Imam and his comprehensive antidote personality. He is both a hero of peace as well as of war, he makes and maintains peace as long as the Muslim community is secured, and that tranquility and dignity prevails in the society. He fights as long as it is proven that the discourse of peace has become slow.

 To observe social conditions and situations in everyday life, photography has been actively and efficiently substituted by inactive visualization, as it has made it possible to consciously observe the daily events and analyze them through photographs. The interpretation and analysis of photographs related to human daily life requires methods that can lead to a better understanding of people’s beliefs and daily interactions. Such methods should be informed by the context and socio-historical structure of population issues.Hermeneutics is the knowledge of interpretation and hereupon, a hermeneutic analysis of photography facilitates studying target photographs with social themes and interpreting theirimplicit meanings based on the characteristics of linguistics, population interventions, intents and intentions, and also those social rules governing the creation of the photographs.The hermeneutics of photography means the interpretation and explanation of photographs within their socio-cultural context by an interpreter who has gained prior knowledge of the context by applying the effective factors of hermeneutic interpretation.

Basically, in hermeneutics, the way of understanding is under question, and so in addressing the photographic categories, hermeneutics deals with “the way of analytically understanding photo”. Therefore, the purpose of the hermeneutic analysis is to 1) identify the factors influencing the process of perceiving photography, 2) to explain the background conditions for this comprehension, 3) to determine the characteristics of the analytical context for the correct interpretation of photographs,4)to define the interpreter of the hermeneutics of photography, and finally to determine who/what has a more reliable position in the photography?

In this study, the hermeneutic analysis of photography is based on the philosophical hermeneutical views of ‘Hans-Georg Gadamer’,andis constituted based on acareful examination of its hermeneutic elements, in creating the correct interpretation of the photo. In other words, the position of each of the elements of Gadamerian hermeneutic in analyzing the context (the concept of tradition, prejudgment, effective historical awareness, conversational logic, semantic horizon, author intent, and hermeneutics critique) is considered in the interpretation process of photography, and its position is raised based on a visual context.

The hermeneutic analysis of photography can include all types of analysis, interpretation, and criticism of target photographs if the influential hermeneutic tools and elements in the analysis are applied accurately. Addressing the interpretive position of the hermeneutic elements will lead the hermeneutics of photography towards a more comprehensive and accurate analysis.

This article emphasizes and focuses on this verse: “O sweet fountain! from the modesty of thy sweet lip (the stream of divine grace), Now, steeped in water and sweat (of toil of search), a piece of sugar (the illusory beloved)-- is not, that is not” to review hidden semantic layers of text based on Hermeneutic-Intertextual analysis approach of Michael Riffaterre. The basis of this Hermeneutic structuralist approach of Riffaterre is that Intertextual aspects of poem will be unlocked by help of non-grammars (literary non-normalities) passing through first layer of meaning (linear reading) to underlying and deep structure level of poem (non-linear reading). In his view, allusion or quotation is a hypogram which is activated previously in another text and current text is discovered due to the kind of reading of audience, recovery and its implications. The result of applying theoretical framework of Riffaterre is that Hafiz intellectual matrix in this verse is lyric and romantic and its hypogram is totally congruent and correspondent with criteria of this matrix. Reader uncovers hidden underlying layers of text from obvious Intertextual level of Khosru and Shirin poem of Nizami (Cliché and descriptive hypogram) with help of presuppositions and his mind meaning hypograms. It seems Hafiz wants to represent the kind of communication and love affair with his ideal beloved through deconstructing semantic substructure of text by using all capacities of meaning-creation of ambiguity and magic of lexical collocations.

In modern economics, the lack of attention to ethical and social principals may lead the businesses to failure. On the other hand, mere attention to humanitarian goals and inattention to financial affairs may cause to a big organizational failure. Since, the current research is targeted at determining the role of serving in moderating the manager's ethical and financial decisions.
This research is a qualitative study and is a historical-hermeneutic research. Research data was gathered by library investigation and reviewing about 130 internal and external article published from 1994 to 2014 selected by conducting non-random purposeful sampling. Hermeneutic analysis tool was utilized to investigate the resources in order to explain the role of serving in moderating the manager's ethical and financial decisions.
Results were indicated that, by focusing on spirituality and social responsibilities of the organization and by considering its financial goals, serving can moderate the financial decision-making models and leads the organization to sustainable development. Such serving is named social-organizational serving. Furthermore, after combining the common decision-making models and the ethical decision model of Vallance, the moderated decision-making process is provided which considers the social and financial goals simultaneously.
It is impossible for organizations to achieve sustainable development regardless of social and ethical values and they are caught in the cycle of irrational abundance. Thus, it is necessary for them to attend to these values along with the financial goals in order to survive.

Historical Arguing -among the Muslim scholars- has been essentially organized on the basis of the logical significations of words. This logical approach to the relation between a word and its synonym is to a large extent influenced by the Muslim Logicians and in particular by their idea of triple significations: accordant (Motabeghi) , included (Tazammoni) and implicative (Eltezami)). However this well-known trinity is not very useful in the hermeneutical analysis of the historical propositions. The present paper shows that other significations could be found beyond the text and it's Regarded Point (RP). The Significations of a Single Tradition (khabar-e-vahed) - as a distinct unit in the jurisprudence studies - is expandable in a hermeneutic approach. In this regard, beside the RP of a Single Tradition, two other new expressions emerge. These significations which can be justified based on the Meta Regarded Point of Tradition (MRP) are: «Inverted Frequency» and «Contextual Frequency». Basically two levels of Historical Arguing can be distinguished in historical arguing: Level one which focuses on RP and level two which is based on MRP.

Research Expression: The origin of innovation in creating of an artwork is the use of unknown factors and utilization of a novel concept that has not been observed or thought out until the artwork appears in the traditional context. With the advent of modernity in the eighteenth century, the exotic elements in Western art, as well as the strange-like elements (strangeness) in non-Western art, due to the initial acquaintance of easterners and local natives with modern art, the artwork appeared very effectively as the origin for the emergence of innovation and creativity. In the process of the occurrence of understanding of the artwork by beholder, according to the principles of the ontological philosophy of understanding in modern hermeneutics, the presence of two elements of familiarity and alienation, and according to hermeneutic expression, “the familiarity and the strangeness” in the context of tradition is the occurrence of conception process. In creating the artwork, the artist may not follow the traditional authority to which he/she belongs. It also happens that the beholder reacts differently to the artwork due to different linguistic and intellectual traditions, and therefore the horizon of understanding, predicting and expecting when obtaining the meaning is different from what the artwork opens up to it, and as a result, the beholder has treated the artwork as a “strange” element. Here, in simple terms, the intellectual horizon of the artwork, which naturally arises from its reference tradition, is different from the intellectual horizon of  the beholder, which has a different history, tradition and understanding, and as a result, the process of understanding the work is somewhat formed differently. Hans-Georg Gadamer considers any occurrence of understanding or conception in a work (as a historical context) as the result of the presence of “familiarity” or “strangeness” in the process of understanding. Tradition is the subject of familiarity, and historical distance and differences in the hermeneutic horizon are the causes of strangeness in the process of any understanding or conception. In a general conclusion, the relationship between beholder and the work (and also the artist) and tradition, and the way of opening the understanding to the artwork can be explained as follows: A) beholder and the work are both in a “linguistic and historical tradition”: familiarity with the work; B) The unfamiliar beholder with the tradition in which the work was created: the alienation and strangeness of the work; C) Disobedience of the artist to the common understanding in his historical tradition in creating the artwork: unfamiliarity, innovation and alienation In the opinion of beholder (either in the context of the historical tradition of the work, or in a different tradition). In connection with the lexical definitions of the exotic and strange-like elements, the emergence of “alienation and exoticism” in art and culture can be considered before modernity and the eighteenth century. When the religion divided world's people into two categories, “Christian” and “pagan” (in the 16th and 17th centuries AD): the world of Christians and the world of pagans. Christians who viewed the art and culture of pagans as “other”. Later, around 1900 AD, modern art was a major source of inspiration for revising the tradition of representation in Western art: primitive non-Western art. Gradually, art language developed into a concept, close to non-Western art that was less imitative. But, here, the West had its own narrative about primitive art and the element in which it was alien. Indigenous people, however, in the non-Western world, in the face of Western art as a strange and wonderful art, sought its useful aspects in their lives; or about the market for the sale of indigenous works and products that were decorated with Western paint and glaze or its usefulness and effectiveness it is in the way of life, thought and work through their native atmosphere. However, any element that is from a different tradition of the work or a context that, in the way of performance and creation, follows a tradition other than the reference tradition of the artist who created the work, represents the artist's relation and familiarity with the component entered into his tradition. The relationship between the artist and the strangeness is an active one, and if exploited, it leads to the interaction of the component of understanding by the artist and its exploitation as an innovative approach to the creation of the work. Purpose The familiarity with the strangeness in the context of the artwork seems necessary. The element of strangeness, which in the beholder's prior acquaintance with the elements in the context of tradition, and the element of strangeness, which due to lack of initial familiarity and the temporal and historical distance of the artist with the elements when this strangeness is itself, in the context of tradition, digested and manifested as a strange element in the context of the work. A question arises here: how can the process of innovation be related to the emergence of artwork and the use of exotic elements in the artwork? In the present article, we will use the method of hermeneutic analysis of Hans-Georg Gadamer in the analysis and interpretation of the artwork in order to clarify the position of the element of “strangeness” in the process of understanding. A research example is the early photographs of the Qajar period, in which many examples of the application of new and strange elements, gestures and concepts of this period can be studied and observed. In the application of the emerging media of photography among the Qajar people, the appearance of blind imitation and, at the same time, Westernized imitation can be observed in the photographic works of that period. The Qajar Shah and the court photographers imitated and existed in the form of the original photographs of the courtiers as the main element that makes the composition in the European frame in order to increase the similarities in appearance to the West and Europe nations (which they had seen and admired so much in their European travels), seemed strange in the pictorial tradition of Iran. In the research sample of the present article, the Western element of the “chair” has always been imitated and existed in most of the early photographs of the courtiers as the main element of the composition in the European frame.  The result is that in the process of confronting the beholder with the work, the artist, using his historical tradition, has placed the concept of strangeness in the context of an alien and unfamiliar element in the tradition, alongside traditional concepts causing amazement, innovation and strangeness in his work.

The purpose of the present study is hermeneutic analysis of the relationship between political background and the ideas of Mohaqqeq Karaki in the Safavid government. The findings showed that as a result of the Safavid attempts, religious structure in line with political structure was formed. The scientific presence of Shi’ite immigrants, especially Mohaqqeq Karaki, with writing jurisprudential and religious texts on the one hand, and educating many pupils on the other hand, could pave the transition ground to a new norm and its expansion. In order to find out the structural changes in that period and the relative transformations in the realm of exegesis of religious texts, we should refer to hermeneutics. In the Safavid era, we witnessed the development and change of the conventional ideology or norm. Therefore, when we refer to the religious texts of that era, we encounter some new terms which imply a change in ideology. In fact, the Safavid government, by using different methods and policies and prudence of Shi’ite jurists, attempted to change the conventional norms of that time. The jurists throughout their enormous attempts could keep the Shi’ite jurisprudence (Fiqh) away from innovations in religious matters back then such as Sufism, ideology of Ottoman religious leaders and … to pave the ground for the active participation of people and Shi’ite scholars in different issues of the country.