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‘Ta‘vil, (Hermeneutics) has long been one of the widely-debated terminologies particularly in the field  of Quranic research. Drawing upon  the earliest lexicographical documents,  the author argues that the term was originally used to mean, changing from potentiality to practice. Sinc this sens of ‘ta‘vil, goes and collocates with ‘Beginning’ ‘End, "Ultimate goal",  and‘ inward nature, the term has gradually acguired these meanings as well.

Then, attempts are made to show how the frequent applications of ta’vil, in the Holy Quran (17 times) go with the original sense of the key word. Towards the end of the paper, the hermeneutics of Quran is discussed vis ―a― vis its being sent down ; the latter has a descending dirction whereas the former has got an ascending movement.

Hence, hermeneutics facilitates man's journey from the explicit structural meaning of the Quran to its inward and superior word. For economy reasons , the author has deliberately skipped the other scholars’ views on this issue.

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Teaching monotheistic topics and trying to understand the ambiguous concepts of epistemology have always been the concern of thinkers. Despite the commonalities in monotheistic teachings, access to rich concepts is not possible for everyone, and there may be contradictions in the understanding of meanings. Hadiqah al-Haqiqah and Masnavi are among the instructive texts that have used figures of speech to express monotheistic concepts. In this article, the teaching style of Sanai and Rumi based on the method of using Monotheistic Images and Corbin’s hermeneutics approach is studied.  The monotheistic language of Masnavi and Hadiqah al-Haqiqah is almost the same. Sanai has expressed monotheism in a general way and at a high level, while Rumi has gone into more details about monotheistic concepts. Hadiqah al-Haqiqah images are mostly designed on the horizontal axis, whereas in Rumi’s Masnavi, many images can also be found on the vertical axis. Rumi has sometimes used Sanai symbols and in many cases has taught monotheistic concepts with completely innovative symbols. The monotheistic images of both mystics are a combination of philosophical teachings and mystical intuitive symbols in Corbin’s hermeneutics. Benefitting from the graphic form of the letters (alphabetical symbolism) and the metaphor of the letters are common to both works.
 
 

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In order to understand the meaning of existence, Heidegger analyzes the existential possibilities of the German word for existence, i.e. Dasein, and among these possibilities, he pays special attention to the relationship between language and existence. In addition to speaking, he considers silence as one of the linguistic possibilities. According to Heidegger, linguistic silence has the potential to reveal existence much more broadly than just speaking. This revelation of existence and hearing the voice of existence in silence gives it an interpretive quality, which Heidegger calls hermeneutics. Since in our mystical heritage, Mawlana Jalaluddin Muḥammad (Rumi) speaks of silence and reticence in most of his ghazals, the authors of this article believe that in the light of Heidegger's conception of silence, new horizons of this concept can be opened up in the ghazals of Shams in order to show its interpretive and hermeneutic features in the following propositions: “from the unworldliness of Dasein to the annihilation of the truth-seeker in the general sense and its connection with silence”, “from Dasein's transition from the linguistic position to the linguistic annihilation of the truth-seeker in the specific sense and its connection with silence”, “the hermeneutics of silence and the reception of genuine speech from Dasein to the truth-seeker”, and “Rumi's hermeneutic silence and the reception of genuine speech” as proof of this claim. By proposing genuine silence, Rumi provides a ground for the soul and the world of existence to speak up and to display the shortcomings and inadequacies of language and to reveal the secrets of the universe. Attention to the hermeneutic aspect of silence in the ghazals of Shams distinguishes the present article from the existing research and a new achievement in the field of Rumi research will emerge.
 

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 The issue of "subject" is the most important indicator of the distinction between classical and modern literature. "I" in classical literature is often general and abstract, but in contemporary literature, following modern philosophy, I is individualized and concrete, in other words, an active subject. Perhaps the most obvious manifestation of this paradigm shift - especially in poetry - can be seen in the type of encounter with the "subject". Contemporary poetry, from its most superficial romantic aspect to its most complex philosophical aspect, expresses a self-sufficient subject whose origin is human-centered.Ahmad Shamlou is one of the poets whose"I" is subject in his poetry. This research deals with the hermeneutics of self/subject in his poetry by the method of qualitative content analysis and critical reading, by studying the collection of Shamlou's poems and selecting suggestive examples. Since this I/Self/Subject has been subjected to turbulences and changes during the six decades of writing poetry, the theoretical support of the discussion is based on these developments, and also deals with the philosophical subject which emphasizes on individual thought and consciousness. and to a subject that is a social construct; That is why it is a compilation of the theoretical support of the article is a synthesis of Michel Foucault's discussions about the hermeneutics of self and governing oneself and others, the theory of symbolic interaction that deals with the individual I and Me, the theory of existentialism that focuses on freedom, choice and responsibility. Finally, because "I" in Shamlou's political poetry is as an ideological pseudo-subject under submission of the Tudeh party, but in his philosophical poetry, the result of knowledge and awareness based on his own lived experience, and thinking on existence, man, life and death, as the supreme subject (Subject), which leads to the formation of the subject in Althusser's view.