بازخوانی "توت فرنگی های وحشی" (اثر اینگمار برگمان) با تامل بر معرفت النفس حکمت صدرایی
آرشیو
چکیده
این مقاله با بررسی و تحلیل فیلم توت فرنگی های وحشی ساخته اینگمار برگمان فیلمساز فقید سوئدی، که یکی از مهمترین فیلم های هنری تاریخ سینماست، به تشریح این مساله می پردازد که چگونه تمهیدات به کار گرفته شده در ساخت این فیلم، چه از نقطه نظر کارگردانی و چه از نظر نگارش فیلمنامه به خلق معانی ای می پردازد که از نظر مبانی فکری با نظریات ملا صدرا در باب معرفت النفس همخوان می باشند. مساله معرفت النفس، از قدیم الایام در بین حکما و متکلمان و در تمام ادیان مطرح بوده است و به عنوان کلید معرفت حق و آخرت شناخته می شود. در سنت فلسفی–دینی اسلامی، جان آدمی، مستعد دریافت حقایق علمی از مبادی عالیه است. ملاصدرا کوشید تا از قلمروی مفهومی وجود فراتر رفته و با تکیه بر ابعاد معرفت نفس بر عرصه حقیقت عینی وجود نزدیک شود. این مقاله با بررسی روایت و همچنین تصویر سازی های این فیلم استدلال می کند از آنجائیکه برگمان در این فیلم شناختی نسبت به نفس انسان را مطرح می نماید، می توان ابعاد مطروحه در فیلم را با مبانی معرفت النفس ملاصدرا مورد تطبیق قرار داد. مقاله حاضر به طور مشخص به مواردی اشاره دارد که در فیلم می تواند مصداق بحث معرفت النفس ملاصدرا در حکمت متعالیه باشد. این مقاله نتیجه می گیرد که برخی اشتراکات قابل ذکر مابین حکمت صدرایی و فیلم برگمان در حوزه معرفت شناسی نفس وجود دارد.a philosophical study of mulla sadra's “self-knowledge” in wild strawberries
This article examines and analyzes the Wild Strawberries by the late Swedish filmmaker Ingmar Bergman, one of the most important feature films in the history of cinema, to showcase how this movie creates meaning that is in line with Mulla Sadra's theory of self-knowledge. Self-knowledge has been a very importand concept through the years among scholars and theologians and in all religions since ancient times and is known as the key to the knowledge of truth and the hereafter. In the Islamic philosophical-religious tradition, the human soul is prone to receive scientific truth. Mulla Sadra tried to go beyond the conceptual realm of existence and approach the realm of objective truth of existence by relying on the dimensions of self-knowledge. The clear and distinct conception of "self-knowledge" in the methodology prioritizes other topics, since before analyzing the issues of self-knowledge and judgment about the existence and absence of sentences, attributes, consequences, and dependent variables, one should know what is self-knowledge and what is not? An analysis of the nature of self-knowledge brings us to two preliminary questions: What is the meaning of knowledge in self-knowledge? What is the meaning of "self" here? Sadr al-Mutalehlīn knows knowledge as "presence" and kind of existence. He also believes in the "truth of the soul," the soul is of the "fluidity" type, which is the fluidity of its essence, and moves towards evolution in the "substantial motion" of the lowest "order of being. Given that Sadra considers "self-knowledge" as self-existent, and the presence of the soul depends on its existence, based on the unity of the modulation of existence, self-knowledge in the transcendental wisdom system is of the utmost rank and is subject to the existence of the soul. The existence of the soul at every level is equally presence to itself. These countless degrees can be categorized in four domains of sensory, imaginary, rational, and supra-rational. The point that can be mentioned as Mulla Sadra's initiative in epistemology is that he aligns the ways of cognition and knowledge. Not only does he not see the philosopher's argument as incompatible with the mystic's findings, but he considers the premise of the mystic's argument and austerities as two means of discovering a truth, and in some cases, the presence of both means necessary. On the other hand, Sadra believes in the connection between rational cognition and revelatory cognition. He mentions this emphasis in various places in his books and emphasizes it. He says: Far be it from the rulings of the Shari'a to be in conflict with certain and necessary cognitions, and to destroy a philosophy whose laws are not in harmony with the Book and the Sunnah. This article examines the narrative as well as the illustrations of this film and argues that since Bergman introduces a cognition of the human soul in this film, the dimensions proposed in the film can be applied to the principles of Mulla Sadra's self-knowledge. The present article specifically refers to the cases in which the film can be an example of the discussion of Mulla Sadra's self-knowledge in transcendent theory. This article concludes that there are some notable epistemological similarities between Sadra's theory and Bergman's film.