بررسی گفت وگوی متن با مخاطب در غزلیات مولانا بر اساس نظریه گادامر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هرمنوتیک گادامر پیوند تنگاتنگ و نزدیکی با مفهوم گفت و گو دارد. گادامر بر این باور است که بدون توجّه داشتن به عنصرگفت وگو، مخاطب و متن توانایی برقراری ارتباط را ندارند؛ بنابراین در این صورت نیز تأویلی صورت نمی پذیرد. غزلیات مولانا از جمله متونی است که مفهومی فراتر از تک معنایی دارد. در باور مولانا معیار قدرت و ناتوانی انسان اندیشه و فهم اوست. او در غزلیاتش به دنبال گمشده ای است که هرگز در این جهان نمی گنجد، مگر از راه شهود و کشف عینی و این ادراکات در سایه گفت وگو که میدانی برای پرسش های متفاوت و دست یابی به پاسخ های متناسب با آن است، امکان پذیر خواهد شد. نوشتار حاضر برآن است تا با رویکردی توصیفی-تحلیلی چند غزل از غزلیات مولانا را از این منظر تحلیل کند. دستاورد پژوهش نشان می دهدکه در پی پرسش و پاسخ های میان غزل های مولانا و مفسّر (مخاطب) و با منطبق کردن افق معنایی آن ها می توان به تأویلی جدید دست پیدا کرد. مفسّر در هنگام مواجهه با متن می کوشد با توجه به موضوع به آن رجوع کند و پرسش ها و پاسخ های متن را نسبت به مکالمه متن با شالوده بازیابی کند. این جست وجو از سنّت و امتزاج افق های مفسّر ظاهر شده است. به علاوه در این مقاله این نکته مورد بررسی قرار گرفته است که مولانا استنباط و وصول معانی را در فهم مخاطب می بیند و برای دست یابی به شناخت و درک متن بر فهم که محصول گفت وگوی میان گوینده و خواننده است و در اثر یک رخداد اتفاق می افتد، تأکید می کند.Analyzing the Dialogue Between Text and Audience in Rumi’s Ghazals Based on Gadamer’s Theory
Gadamer's hermeneutics is fundamentally tied to the concept of dialogue. He argues that without genuine dialogue, meaningful communication between text and reader cannot occur, making interpretation impossible. Rumi's ghazals exemplify texts that resist singular meanings, containing layers of significance that demand active engagement. In Rumi’s view, human capability is measured by one’s capacity for thought and understanding. His poetry seeks what cannot be contained within worldly limits - a search realized through intuition, discovery, and crucially, through dialogic encounter where questions provoke new understandings. This paper analyzes selected Rumi ghazals through a descriptive-analytical approach informed by Gadamerian hermeneutics. The study demonstrates how the dynamic interplay of questions and answers between text and interpreter, along with the fusion of their horizons, generates fresh interpretations. The interpreter engages the text thematically, reconstructing its implicit dialogue with its own foundations - a process emerging from the commentator’s horizon merging with the text's tradition. The research further reveals how Rumi locates meaning in the reader's act of understanding. True knowledge emerges not from passive reception but from the event of dialogue between poet and reader, where understanding is co-created through interpretive encounter. 1-Introduction Thought is a defining human characteristic and one of the marks of humanity's superiority over other beings, emerging from our capacity for speech and language. According to Rumi, a person's humanity depends on their conscience and thought. In Rumi's belief, the measure of a person’s power and ability—or helplessness and inability—lies in their thought, perception, and understanding. In his ghazals, Rumi seeks what is lost, something that can never be found in this world except through intuition, inspiration, and direct revelation. By searching the universe, he ultimately connects with the source of truth and eternal light, which is the beginning and end of both worlds, and loses himself in it. For this reason, readers of his poems connect their thoughts with his world of thought in order to engage with his lyrics and attain understanding and perception. These insights become possible and take shape in the context of dialogue, which provides a space for asking different questions and arriving at meaningful answers. Hans-Georg Gadamer (1900–2002) is one of the pioneers of philosophical hermeneutics, who believes that understanding can never escape the historicity of tradition, because horizons are both unlimited and historical, and we cannot achieve understanding except through language, history, and tradition. This perspective led to the establishment of fundamental principles in Gadamer's theory, the most prominent of which are: the ontology of understanding and experience, the historicity of understanding and experience, the ontology of language, the role of language in hermeneutics, the logic of conversation (textual dialogue), the fusion of horizons, the relationship between text and interpreter, and the assumptions underlying understanding and interpretation. In the logic of conversation, Gadamer believes that the text is always in dialogue with the audience, and that this dialogue is not confined to a specific period of time. Accordingly, the conversation between the text and the audience continues from the past to the present and even into the future. In this sense, it can be said that if this principle of Gadamer’s philosophical hermeneutics does not occur, then the integration and fusion of horizons will not take place, and no true understanding can arise. “The author produces the text in the absence of readers whose information and circumstances are unknown, and the reader reads the work in the absence of the author and often without knowledge of his background and context. If we consider every communication as a type of dialogue, the dialogue between the author and the reader during the production of the text takes place in the absence of the reader, and the dialogue between the reader and the text takes place in the absence of the author” (Pournamdarian, 2008: 11). Therefore, the present study also seeks to show how Rumi's ghazals can be interpreted in light of this principle of Gadamer’s theory. 2-Research Background Despite extensive research by the authors, no studies were found that specifically examine the dialogue in Rumi’s ghazals through the lens of Gadamer’s theory. However, several studies have analyzed Rumi’s ghazals from various perspectives. Among the most relevant are the following: Naseri et al. (2020), in an article entitled “Hermeneutic Reading of a Ghazal by Rumi,” analyzed one of Rumi’s ghazals using Gadamer’s principles. In their analysis, historicity, dialogical logic, the fusion of horizons, and the central role of language were highlighted as prominent elements of the text. Pournamdarian (2013), in his book In the Shadow of the Sun: Persian Poetry and Deconstruction in Rumi’s Poetry, argues that dialogue or conversation is a fundamental foundation of the structure of speech, whether written or spoken, as no conversation can take place without an audience—even if the audience is absent. This basic principle applies equally to speech addressed to one person and to speech delivered in the presence of multiple individuals. He considers all forms of linguistic communication, including speech and writing in the absence of an audience, to be forms of dialogue in the broadest sense. Pournamdarian has also addressed this principle in earlier works, including his article “Interpretation of a Ghazal by Rumi” (2010), and “The Logic of Conversation and Mystical Ghazal” (2006), where he presents it as a foundational element of the dialogue between audience and text. Mohammadi Asiabadi (2010), in his article “Dialogue and Its Structure in Shams’ Ghazals,” identifies the presence of dialogue as a defining feature of Rumi’s ghazals. He argues that dialogue forms the core and central theme of many ghazals, especially those structured as anecdotes and stories. He further notes that Rumi uses the element of dialogue to craft original satires in these poetic forms. 3-Research Method To achieve the main objectives of this research, the study will employ a descriptive-analytical method, using library sources and following the methodological criteria and perspectives of hermeneutic theorists. The techniques and artistic aspects of Rumi’s poems in the Divan of Shams will be examined. After identifying the elements of semantic and content structure within the poems, the researcher will present the findings using the descriptive-analytical approach. 4-Result In mystical ghazals—and in many of Rumi’s ghazals—the communicative role of words is often diminished due to deep ambiguities. This occurs when the poet or speaker directly addresses a “you,” yet the reader remains uncertain about the speaker’s role in the conversation. In all the ghazals under study, the “I” is both the speaker and, indirectly, the addressee of another “I.” That is, he is simultaneously the narrator, the “I,” and the “You” who has become his own addressee. In the dialogue between the text and the audience, Rumi’s mystical thought causes the interpreter or reader to approach the ghazal with certain preconceptions. In the world of Rumi’s poetry, the speaker is his empirical self, which is not identical to the self that exists in the external, material world. The words spoken by the poetic “I” are not consistent with the words of the “I” in the real world, because the speaking voice here belongs to a transcendent self—a super-self—that speaks of itself or of “me.” This is the same “I” that appears to exist but, in truth, is non-existent. Rumi’s poetic self is in a state of dissolution, transient and mortal, for the lover has no conscious or independent presence. Whatever exists is only the beloved’s companion—nothing more. This state results from reaching the true level of existence, which is attained through the dialogue between the seeker and the sought. At this level, the lover becomes annihilated in the beloved, and the reality of certainty is unveiled. In such a state, the seeker no longer exists; all that remains is the sought—that is, the level and station of La ilaha illallah (There is no god but Allah). While reading Rumi’s ghazals, the commentator may encounter questions such as: Who is the true embodiment of the beloved that Rumi refers to in his poems? Does the principle of “unity of existence” govern the framework of all the ghazals? Does Rumi truly abandon reason, science, and language in favor of direct experience and intuitive union with the beloved? These and many similar questions arise in Rumi’s ghazals—questions for which no single, clear answer can be given. The reader, as interpreter, can only arrive at possible answers through deep reflection and interpretation—answers that still cannot be confirmed with certainty.
تبلیغات
