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Showing 6 results for BALOO
Habibollah Abbasi, Farzad BALOO,
Volume 2, Issue 5 (Spring 2009)
Volume 2, Issue 5 (Spring 2009)
Abstract
The contemporary literary theorists have examined different literary genres from different viewpoints. Among them Mikhael Bakhtin, a distinguished Russian literary critic, is a standout. Highlighting his key concept of dialogism, Bakhtin from among different literary genres describes the novel, specially Dastayovski's novels as possessing dialogic or Polyphonic quality. In such novels, the voice of the narrator isn’t dominant but is beside other voices. Among Persian literary classic texts, Masnavi – ye Manavi is one of the few texts in which the debates and dialogues between its story allegorical characters is considerably conformable to the components Bakhtin considers for dialogism. We raise and describe this conformability in this article.
Volume 6, Issue 4 (No.4 (Tome 25), (Articles in Persian) 2015)
Abstract
For a long time philosophers and linguists, have investigated the concepts of signifier and signified. At the beginning of the twentieth century, linguistic studies in general and the concepts of signifier and signified in particular, have developed noticeably. Although in our tradition the question of language has been the focus of attention but the linguistic aspects of this human phenomenon have been ignored. We found Nasser khosrow as one of the few scholars and thinkers who has tried to find the nature of the relationship between signifier and signified through examining it from the linguistic point of view .He selects Nam and Namdar for signifier and signified attributing them the conventional nature .In this article with revision of saussure’s view and notion on signifier and signified, we examined whether Nasser Khosrow’s vision in this area can be held in modern linguistic studies?.
Farzad BALOO,
Volume 11, Issue 44 (Winter 2018)
Volume 11, Issue 44 (Winter 2018)
Abstract
Gadamer under the influence of Heidegger's views on the subject of Dasein's understanding, language, linguisticality, and historicity. , Founded a philosophical hermeneutics. Without reading the text, like his predecessors, Schleiermacher and Dilthey by adopting the method, and focusing on the author in pursuit of the author's intentions, or the reader as the focal point of the subject of understanding and reading the text, Inspired by Heidegger's ontological philosophy Correspondence Subject - subject between the reader and the text, and the Fusion of horizons is the final result of the dialogue between the reader and the text. While one of the most important misconceptions about Gadamerian philosophical hermeneutics in popular research is that it is mistakenly interpreted from the philosophical hermeneutics to hermeneutic reader-centered.This mistake is rooted in such reasons as: the lack of attention to changing the methodological approach in philosophical hermeneutics to the political approach, the wrongly interpretation of the concept of adaptation or application in philosophical hermeneutics, the lack of attention to the concept of play in philosophical hermeneutics, the distinction of subject and object, and the lack of precise attention to The Fusion of horizons in philosophical hermeneutics is a lack of separation between the realm of philosophical hermeneutics and literary hermeneutics and ....The present research studies the roots of this misunderstanding.
Farzad BALOO, ,
Volume 14, Issue 56 (Winter 2021)
Volume 14, Issue 56 (Winter 2021)
Abstract
The concept of "silence" in Rumi's works and poems has been one of the concepts that has attracted the attention of scholars. Books and articles which have tried to explain the concept of silence from different mystical, theological, linguistic, etc. points of view have been analysed. In this research, with a critical-analytical perspective, while classifying and describing the various approaches that researchers have focused on the subject of silence in the works of Rumi. We will discuss the missing link in these studies, that is, the lack of hermeneutic reading of silence in the works and poems of Rumi. The hermeneutic silence by which the word of truth is reflected in the language of the mystic, has been scrutinized.
Introduction
In the field of literary, mystical, philosophical studies, etc., Rumi's research has a large and fruitful and extensive record. It is very clear that the works of Rumi, both poetic and prose, are in the field of mystical literature. The capacities and capabilities of Rumi's works have made it possible to open the door to many reflections and research from different perspectives. One of the concepts and topics that have occupied the minds of researchers in recent years is the category of silence in the works and thought of Rumi. Research on the subject of silence have explained and analysed this concept in Rumi's sphere of thought with various approaches. Accurate classification of books and articles written on this subject is difficult due to the entanglement of concepts and approaches. In order to. We have tried to classify these studies thematically, including: the study of Rumi's silence in the moral-mystical field, study of Rumi's silence from a philosophical perspective, study of Rumi's silence from a psychological perspective, Study of Rumi's Silence from a linguistic perspective, investigation of Rumi's silence based on prosodic weights, comparative study of Rumi's silence. We will briefly outline and describe each of these studies, and then, we will point out the missing link.
Discussion
What is presented in the general conclusion, is that there are different approaches to silence. The focal point in the studies is that they refer to silence as the unspoken. In other words, it is the silence from which the words of truth emerge and the mystic becomes the language of truth and in this mystical experience, existence is seen as a language fifes and serenades. Rumi in his works, has referred to this type of silence and most scholars, despite its description and expansion, have not gone beyond the limits of Rumi's references and in this case, have not been the designer of a new perception of silence in Rumi's mind and language. Therefore, it could be said that the fundamental aspect of Rumi's silence and eloquence has been neglected in these studies. This original and fundamental feature is the hermeneutic reading and interpretation of silence in Rumi's works. That is the most important feature of silence. It should be noted that hermeneutics is a term coined by the authors of the present study under the influence of the philosophical ideas of the German philosopher Martin Heidegger. To further explain this term, it can be said that the meaning of the word hermeneutics in this interpretation has served the word silence and its content. Because silence itself, due to its fundamental nature, has an opening and revealing aspect and creates an opportunity for openings and manifestations. A trait that can also be attributed to the term hermeneutics according to its function.
Conclusion
In many studies, including articles and books on the concept of silence in Rumi's works and poems, not even the slightest hint of the hermeneutic nature of Rumi's silence has been mentioned, and in most cases Rumi's words about silence have been repeated. While showing the hermeneutic analytical absence of the concept of silence in Rumi's works and poems, we explained the hermeneutic dimension and revelation of silence, including annihilation and its relation to the hermeneutics of silence, the hermeneutic relation of silence to language and the hermeneutics of silence and receiving original speech. And in this way, we highlighted the missing link in the named research.
Parisa Nasiri, Farzad BALOO, Hadi Nurmohammadi,
Volume 16, Issue 63 (Fall 2023)
Volume 16, Issue 63 (Fall 2023)
Abstract
Parenting style is one of the significant approaches in the field of psychology which deals with the importance of the role of parents and the way they interact with their children. In the 1960s, Diana Baumrind identified four main types of parenting styles: authoritative, authoritarian, permissive, and uninvolved. Each of these styles takes a distinct approach to raising and interacting with children on the part of parents. One of the most well-known authors of contemporary fiction, Jalal Al-e Ahmed, using caustic humor explored in the book “The School Principle” how to raise children, how to educate them, and how parents might help their children improve their social skills. In the present study, we investigated the parenting style in Al-e Ahmed's novel “The school principal” through a descriptive-analytical approach. The findings of the study reveals that this novel among the four types offered by Baumrind, can be examined based on the authoritarian parenting style. Furthermore, its elements lead us to positive and beneficial implications for parenting education in the
Extended Abstract
Parenting style is one of the significant approaches in the field of psychology which deals with the importance of the role of parents and the way they interact with their children. In the 1960s, Diana Baumrind identified four main types of parenting styles: authoritative, authoritarian, permissive, and uninvolved. Each of these styles takes a distinct approach to raising and interacting with children on the part of parents. One of the most well-known authors of contemporary fiction, Jalal Al-e Ahmed, using caustic humor explored in the book “The School Principle” how to raise children, how to educate them, and how parents might help their children improve their social skills. Considering to the importance of parenting and the ability to analyze literary texts based on this theory, no research has been conducted on examining contemporary narrative literature, especially the story of the school principal, based on parenting styles.
In this research, through a descriptive-analytical method, we aim to understand how the story of “The School Principal” describes and explains the role of the family as the primary center of child rearing based on parenting style, what cultural, social, and educational factors play a role in the target work, and how the story aligns with which of the parenting styles. It seems that, considering that the story narrates the educational situation and the cultural and social conditions of students, the role of parents as another key component in child rearing and their interaction with them is depicted as bilateral and mutual. Also, the economic and social factors of individuals have a direct relationship with the educational and cultural conditions of children. The findings of the research indicate that, based on this perspective and examining the story of the school principal by Jalal Al-e Ahmad, this work is investigable and researchable based on the authoritative parenting style.
Al-e Ahmad, by portraying poor families, parents with low levels of education, their neglect of children, unfavorable living conditions in terms of education and livelihood, and the cultural and social situation as well as the psychological characteristics of children in the story of the school principal and other works related to parenting that were addressed in this research, seeks to demonstrate that the parents of students, who are mostly from the lower strata of society, often behave violently and harshly toward their children, in addition to unfavorable economic and health conditions. Their disregard and use of force towards children diminishes the level of self-confidence and self-belief in children, of which a part is due to the lack of awareness of the right parenting methods and acquiring necessary skills in the field of appropriate parenting styles.
Extended Abstract
Parenting style is one of the significant approaches in the field of psychology which deals with the importance of the role of parents and the way they interact with their children. In the 1960s, Diana Baumrind identified four main types of parenting styles: authoritative, authoritarian, permissive, and uninvolved. Each of these styles takes a distinct approach to raising and interacting with children on the part of parents. One of the most well-known authors of contemporary fiction, Jalal Al-e Ahmed, using caustic humor explored in the book “The School Principle” how to raise children, how to educate them, and how parents might help their children improve their social skills. Considering to the importance of parenting and the ability to analyze literary texts based on this theory, no research has been conducted on examining contemporary narrative literature, especially the story of the school principal, based on parenting styles.
In this research, through a descriptive-analytical method, we aim to understand how the story of “The School Principal” describes and explains the role of the family as the primary center of child rearing based on parenting style, what cultural, social, and educational factors play a role in the target work, and how the story aligns with which of the parenting styles. It seems that, considering that the story narrates the educational situation and the cultural and social conditions of students, the role of parents as another key component in child rearing and their interaction with them is depicted as bilateral and mutual. Also, the economic and social factors of individuals have a direct relationship with the educational and cultural conditions of children. The findings of the research indicate that, based on this perspective and examining the story of the school principal by Jalal Al-e Ahmad, this work is investigable and researchable based on the authoritative parenting style.
Al-e Ahmad, by portraying poor families, parents with low levels of education, their neglect of children, unfavorable living conditions in terms of education and livelihood, and the cultural and social situation as well as the psychological characteristics of children in the story of the school principal and other works related to parenting that were addressed in this research, seeks to demonstrate that the parents of students, who are mostly from the lower strata of society, often behave violently and harshly toward their children, in addition to unfavorable economic and health conditions. Their disregard and use of force towards children diminishes the level of self-confidence and self-belief in children, of which a part is due to the lack of awareness of the right parenting methods and acquiring necessary skills in the field of appropriate parenting styles.
Farzad BALOO, Mostafa Mirdar Rezaei,
Volume 18, Issue 69 (5-2025)
Volume 18, Issue 69 (5-2025)
Abstract
Contrary to the Western tradition, which has long occupied the minds and language of some philosophers with an irreconcilable conflict between philosophy and poetry, in our tradition, although philosophy is often mentioned as a curse, our philosophers have frequently maintained a positive attitude toward poetry. Among them, in the contemporary period, a philosopher named Mahmoud Homan stands out. This research examines and analyzes Homan’s views on poetry and related issues using a descriptive-analytical method—a topic that has been overlooked in contemporary research. The results of this research show that in his first intellectual period, Homan, inspired by the achievements of Western philosophers (Kant and Schopenhauer) and Iranian-Islamic philosophers (Shams Qays Roziy), as well as his own reflections on the nature and essence of poetry, considered rhythm, rhyme, and meter essential. From Shams Qays, he incorporates fantasy, expanding it conceptually with influences from Kant and Schopenhauer, while also adding the two conditions of grace and brevity. It is clear that this definition of poetry aligns more closely with the atmosphere of classical poetry. Additionally, he presents thoughtful observations about the cause of poetry’s effect in relation to poetic elements, the poet’s characteristics, the semantic foundations of descriptive and symbolic poetry, and a philosophical analysis of the power of imagination, among other topics. Following Kant, Homan does not attribute epistemological dimensions to poetry. However, in his second period of thought, Homan, influenced by Husserlian phenomenology, revisits his earlier definition of poetry with a focus on contemporary poetry, excluding features such as rhyme and meter as essential elements. Instead, he introduces a subjective-objective aspect to the beauty of the poem.
Extended Abstract
Regarding the essence of poetry-particularly from a philosophical perspective-extensive discussions have taken place since ancient times, from Plato (in The Republic) and Aristotle (Poetics) to modern thinkers like Heidegger (Being and Time). In Iran, too, intellectuals spanning from early figures such as Avicenna (in the introduction to the ninth art of the logic section of The Book of Healing) and Shams Qays Roziy (Al-Mu’jam fi Ma’ayir Ash’ar al-’Ajam) to contemporary scholars have sought to define the nature of poetry. Among the philosophers of the modern era who addressed the question ”What is poetry?” from a philosophical standpoint was Mahmoud Hooman (1908–1980). A chemical engineer, writer, and professor at the Universities of Tehran, Tarbiat Moallem, and Tabriz, Hooman earned his doctorate in philosophy from the Sorbonne University in France.
Alongside philosophical and historical books (such as History of Philosophy, Philosophical Lectures, Ancient History of Iran, The Mongol Invasion of Iran, etc.) that Hooman authored, he has two important books in the field of literature in which he presents valuable discussions regarding the nature and characteristics of poetry. The first book is titled Hafez, in which Hooman-particularly in its first section (“What Does Hafez Say?”)-poses and elaborates on topics such as: What is poetry?, Who is a poet?, What is the reason for the impact of poetry?, and so on. The other book is What is Poetry?, which is essentially a dialogue concerning “the essence of poetry” between Hooman and one of his students, Ismail Khoei. In this book, published several years after the previous work (Hafez), some of Hooman’s views on poetry have changed.
The present study, written in a descriptive-analytical manner and utilizing library resources, seeks to examine and analyze Hooman’s views-as one of the prominent contemporary thinkers and philosophers-regarding the nature and essence of poetry.
In a general classification, Hooman’s views on ”what is poetry”-can be divided into two sections-or, more accurately, into two distinct intellectual periods. In the first intellectual period, Hooman’s perception of the nature of poetry is organized through a combination of literary and philosophical viewpoints rooted in Persian literary tradition and the Western philosophical tradition. Inspired by and under the influence of Shams Qays, Kant, and Schopenhauer (or Schopenhoer, as he himself put it), he seeks to answer the age-old question ”what is poetry?”-though he conditions this definition with two requirements: ”grace” and ”brevity”. Hooman derives meter, rhyme, and symmetry from Shams Qays; the quality of being imaginative (in a conceptually expanded sense) from Kant and Schopenhauer; and he himself adds the two conditions of grace and brevity. In his view, the distinctiveness of poetry depends on the presence of all these features in speech. The absence of any of these features causes the poetic quality to fade, giving rise to other literary forms-namely, versified speech and artificial speech.
In the second intellectual period, Hooman-revising his views on the nature and essence of poetry with a broader perspective on contemporary poetry-removes features such as rhyme and symmetry from the essential components of poetry. In this new approach, he argues that knowledge of poetic rules and devices (and consequently possessing rhythm, specifically metrical rhythm or bahr), “having rhyme,” and “having equal parts” are no longer necessary conditions or inherent features of poetry. In his revised understanding, rhythm now signifies musicality [آهنگ], standing in contrast to the Greek concept of taktos-meaning “according to a fixed and specific rule and system”-which largely corresponds to “meter” in its traditional sense. Through this redefinition, Hooman ultimately concludes that poetry is melodic, short, graceful, and imaginative speech. During this second intellectual period, Hooman demonstrates a stronger inclination toward Husserlian phenomenology. Rather than emphasizing the language-centered aspects of poetry (as the Formalists do), he prioritizes its intellectual and meaning-centered dimensions, considering them fundamental to poetic expression.
Undoubtedly, within the body of research on poetry, Hooman’s reflections on the nature and constituent elements of poetry stand-if not unparalleled-as exceptionally rare when compared to the views of contemporary Iranian writers and scholars. Occupying a distinct historical position, he attempts to utilize history as a generative source for data concerning poetic definition, subsequently engaging in philosophical inquiry both in defining poetry and explicating its general principles.
While it is true that during his first intellectual period he was profoundly influenced-primarily by Kant and secondarily by Schopenhauer-his incorporation of features such as conciseness and grace as fundamental pillars of poetry enables him to transcend the formalistic constraints of Kant’s approach. Instead, he emphasizes how poetry is expressed and its underlying meaning. Consequently, symbolic texts permitting multiple interpretations are accorded greater value than panegyrics and odes.
In his second intellectual period, Hooman’s evaluation of beauty and definition of poetry undergo a significant shift. He abandons Kant’s subjective perspective, adopting instead a Husserlian phenomenological approach that acknowledges the interdependence of subjective and objective dimensions in the poet-audience relationship, as well as in judgments of beauty and poetic definition. This represents a departure from his earlier definition, aiming to establish a more expansive framework capable of assessing both classical and contemporary Persian poetry.
Within the historical context of poetic definition in our tradition, Hooman emerges as one of the few thinkers to construct a philosophical-intellectual system capable of artistically illuminating poetry’s multifaceted and often concealed dimensions-a system that remains relevant for contemporary poetry criticism and research. Nevertheless, it must be acknowledged that Hooman’s poetic theory was inevitably shaped by his historical context. The definition of poetry has since broadened, with corresponding shifts in evaluative criteria and foundational principles. For instance, his meaning-centric perspective may not fully align with certain poetic movements, such as Barahani’s language-oriented poetry or various postmodern poetic trends.
Extended Abstract
Regarding the essence of poetry-particularly from a philosophical perspective-extensive discussions have taken place since ancient times, from Plato (in The Republic) and Aristotle (Poetics) to modern thinkers like Heidegger (Being and Time). In Iran, too, intellectuals spanning from early figures such as Avicenna (in the introduction to the ninth art of the logic section of The Book of Healing) and Shams Qays Roziy (Al-Mu’jam fi Ma’ayir Ash’ar al-’Ajam) to contemporary scholars have sought to define the nature of poetry. Among the philosophers of the modern era who addressed the question ”What is poetry?” from a philosophical standpoint was Mahmoud Hooman (1908–1980). A chemical engineer, writer, and professor at the Universities of Tehran, Tarbiat Moallem, and Tabriz, Hooman earned his doctorate in philosophy from the Sorbonne University in France.
Alongside philosophical and historical books (such as History of Philosophy, Philosophical Lectures, Ancient History of Iran, The Mongol Invasion of Iran, etc.) that Hooman authored, he has two important books in the field of literature in which he presents valuable discussions regarding the nature and characteristics of poetry. The first book is titled Hafez, in which Hooman-particularly in its first section (“What Does Hafez Say?”)-poses and elaborates on topics such as: What is poetry?, Who is a poet?, What is the reason for the impact of poetry?, and so on. The other book is What is Poetry?, which is essentially a dialogue concerning “the essence of poetry” between Hooman and one of his students, Ismail Khoei. In this book, published several years after the previous work (Hafez), some of Hooman’s views on poetry have changed.
The present study, written in a descriptive-analytical manner and utilizing library resources, seeks to examine and analyze Hooman’s views-as one of the prominent contemporary thinkers and philosophers-regarding the nature and essence of poetry.
In a general classification, Hooman’s views on ”what is poetry”-can be divided into two sections-or, more accurately, into two distinct intellectual periods. In the first intellectual period, Hooman’s perception of the nature of poetry is organized through a combination of literary and philosophical viewpoints rooted in Persian literary tradition and the Western philosophical tradition. Inspired by and under the influence of Shams Qays, Kant, and Schopenhauer (or Schopenhoer, as he himself put it), he seeks to answer the age-old question ”what is poetry?”-though he conditions this definition with two requirements: ”grace” and ”brevity”. Hooman derives meter, rhyme, and symmetry from Shams Qays; the quality of being imaginative (in a conceptually expanded sense) from Kant and Schopenhauer; and he himself adds the two conditions of grace and brevity. In his view, the distinctiveness of poetry depends on the presence of all these features in speech. The absence of any of these features causes the poetic quality to fade, giving rise to other literary forms-namely, versified speech and artificial speech.
In the second intellectual period, Hooman-revising his views on the nature and essence of poetry with a broader perspective on contemporary poetry-removes features such as rhyme and symmetry from the essential components of poetry. In this new approach, he argues that knowledge of poetic rules and devices (and consequently possessing rhythm, specifically metrical rhythm or bahr), “having rhyme,” and “having equal parts” are no longer necessary conditions or inherent features of poetry. In his revised understanding, rhythm now signifies musicality [آهنگ], standing in contrast to the Greek concept of taktos-meaning “according to a fixed and specific rule and system”-which largely corresponds to “meter” in its traditional sense. Through this redefinition, Hooman ultimately concludes that poetry is melodic, short, graceful, and imaginative speech. During this second intellectual period, Hooman demonstrates a stronger inclination toward Husserlian phenomenology. Rather than emphasizing the language-centered aspects of poetry (as the Formalists do), he prioritizes its intellectual and meaning-centered dimensions, considering them fundamental to poetic expression.
Undoubtedly, within the body of research on poetry, Hooman’s reflections on the nature and constituent elements of poetry stand-if not unparalleled-as exceptionally rare when compared to the views of contemporary Iranian writers and scholars. Occupying a distinct historical position, he attempts to utilize history as a generative source for data concerning poetic definition, subsequently engaging in philosophical inquiry both in defining poetry and explicating its general principles.
While it is true that during his first intellectual period he was profoundly influenced-primarily by Kant and secondarily by Schopenhauer-his incorporation of features such as conciseness and grace as fundamental pillars of poetry enables him to transcend the formalistic constraints of Kant’s approach. Instead, he emphasizes how poetry is expressed and its underlying meaning. Consequently, symbolic texts permitting multiple interpretations are accorded greater value than panegyrics and odes.
In his second intellectual period, Hooman’s evaluation of beauty and definition of poetry undergo a significant shift. He abandons Kant’s subjective perspective, adopting instead a Husserlian phenomenological approach that acknowledges the interdependence of subjective and objective dimensions in the poet-audience relationship, as well as in judgments of beauty and poetic definition. This represents a departure from his earlier definition, aiming to establish a more expansive framework capable of assessing both classical and contemporary Persian poetry.
Within the historical context of poetic definition in our tradition, Hooman emerges as one of the few thinkers to construct a philosophical-intellectual system capable of artistically illuminating poetry’s multifaceted and often concealed dimensions-a system that remains relevant for contemporary poetry criticism and research. Nevertheless, it must be acknowledged that Hooman’s poetic theory was inevitably shaped by his historical context. The definition of poetry has since broadened, with corresponding shifts in evaluative criteria and foundational principles. For instance, his meaning-centric perspective may not fully align with certain poetic movements, such as Barahani’s language-oriented poetry or various postmodern poetic trends.
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