THE MEANING OF PHILOSOPHICAL DIALOGUE IN RIG VEDA AND AVESTA | ||
| نشریه هنرهای زیبا: هنرهای نمایشی و موسیقی | ||
| Article 4, Volume 2, Issue 40 - Serial Number 537760, August 2011, Pages 39-48 PDF (628.66 K) | ||
| Authors | ||
| Farzane Pour Mohammad Ali Ghanavati; naghmeh samini; Behrooz Mahmoudi Bakhtiari | ||
| Abstract | ||
| Studying the dialogue properties in Rigveda and Avesta indicates a type of dialogue called “philosophical dialogue” that is the synonym of “nonviolence”. According to the author, the initial root of forming the dramatic dialogue is based on philosophical dialogue, i.e. a type of fluidity and flow of meaning between two sides of the relation and by such relation it will be made a new concept. Thus, fluid space of dialogue conduces to multiple tons, and efforts to perceive the others will produce a new landscape in dialogue that displaces mind with power. In this style, using mutual question and answer, the subject is converted to word and dialogue is formed. In this process, a kind of active comprehension is appeared that is not based on initial agreement, but it is the result of mixture of different conceptions and is converted to understanding and causes speech improvement and mutual confirmation. Such duality of relation and stating the visions results in sharing for information making forming the basis of dramatic dialogue. In philosophical dialogue, conversational political space result in making multiple voices and attempting for finding another perception has made new perspective in the conversation and there will be appeared a type of concept resulted from mix of different insights. In Avesta, there is less new perspective and sense making and comparing with fluid boundaries of Rigveda, it has determined and absolute boundaries. The reason for the selection of this topic is to introduce another concept and dimension of dialogue and to emphasize the importance of the concept of dialogue in an era in which human being has noticed the power of communication and is trying to establish a better communication with his environment and familiarity with other insights. Modern human being has come to the conclusion that better communication will not be possible unless geographical and racial borders fade into insignificance. Developing and creating common meaning, paying attention to others’ views, coincidence of views, suspending meanings and thoughts, and discourse instead of exerting power are the concepts that we will try to find their roots in Rig Veda’s and Avesta’s songs. In Avesta’s, we encounter conversation. A new style will not be created in this style and semantics will not occur. Avesta’s language is a strategic and ideology-maker one, and is concluded from monologue system, namely a distinguishable system between friend and enemy, which has exact and definite borders despite of fluid borders of Rig Veda. Here, two songs of Yasneh-hat 29 Gahan and Tiryasht from Avesta’s; songs 183, from tenth Mandala; songs 125 and 165 from first Mandala of Rig Veda are studied. This study proves that while there is little capability in Avesta’s for dramatic dialogue, but philosophical dialogue is impossible in it, and this is while Rig Veda has philosophical dialogue capability plus dramatic dialogue. In fact, roots of formation of modern dialogue should be searched in Rig Veda. In this study we follow up the roots of formation of modern conversation and dramatic dialogue based on philosophical dialogue. | ||
| Keywords | ||
| Avesta; Free radical space; non- violence; philosophical dialogue; Rig Veda | ||
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