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23
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2
Dinî tecrübe, din felsefesinin son dönemlerde üzerinde daha fazla düşünülen ve tartışılan bir konusu olarak dikkat çekmektedir. Bu çalışmada, dinî tecrübenin mahiyeti ve özellikleri ana hatlarıyla sunulmaya çalışılmıştır. Çalışmamızın ana eksenini, dinî tecrübenin ifade şekilleri ve imkânları oluşturmaktadır. Bilindiği gibi, dinî tecrübenin başkalarına aktarılıp aktarılamayacağı tartışıldığı gibi, ifade edilmeye çalışılan dini tecrübenin hangi şekilde aktarılabileceği de tartışmalı bir konudur. Literatürde, dini tecrübenin ifadesi denince daha çok linguistik boyuta vurgu yapıldığı, diğer sembol ve göstergelerin yeterince vurgulanmadığı görülmektedir. Buna göre, dinî tecrübenin ifade imkânının sadece linguistik zeminde tartışılmasının yeterli olmadığı, onun sanatsal ve aktüel olarak sembolik bağlamda da tezahür ettiği, çalışmamızın vurgulamak istediği yönlerden biridir. Dinî tecrübenin ifade imkânı, linguistik açıdan ele alındığında ise, Walter Stace’in (ö.1967) dinî tecrübeyi ele alırken öne sürdüğü şiirsel dilin ussal-kavramsal dile nazaran özel bir ifade imkânı taşımadığı, şiir dilinin kavramsal dilin estetik bir formundan başka bir şey olmadığı görüşü eleştirilmiş; sembol ve mecaz dolayımı neticesinde doğan şiir dilinin dinî tecrübenin ifadesinde vazgeçilemez bir öneme sahip olduğu tezi öne sürülmüştür. Şiirdeki tekrara dayanan ritmik dilin ise sadece estetik bir çabanın sonucu olmadığı dile getirilerek mistik duyguların uyanmasında tekrarın ve ritmin önemi de vurgulanmıştır. Ayrıca bu bağlamda, Aynü’l-kudat Hemedanî’nin (ö.1131), dildeki kelimelerin dikey düzlemde, çok anlamlı olarak bir derinliğe sahip olduğu görüşüne de değinilmiş, bu görüşün bir bakımdan sembolik dile yaklaştığı iddia edilmiştir.
Religious experience draws attention as a topic more thought and discussed on religious philosophy in recent periods. In this study, the characteristics and characteristics of religious experience were tried to be presented with the main lines. The main axis of our work is the forms and possibilities of religious experience. As it is known, as it is discussed whether religious experience can not be transmitted to others, it is also a controversial issue how religious experience is trying to be expressed. In literature, it appears that the expression of religious experience is more emphasized in the linguistic dimension, and other symbols and indicators are not sufficiently emphasized. Accordingly, the possibility of expression of religious experience is one of the aspects in which it is not sufficient to be discussed only on the linguistic ground, it is also manifested in the artistic and actual symbolic context, which our work wants to emphasize. The possibility of expression of religious experience, when addressed from a linguistic point of view, is criticized by the view that the poetic language, which Walter Stace (e.g. 1967) suggested when addressing religious experience, has no special possibility of expression in the usal-cavramsal language, that the poetic language is nothing but an aesthetic form of the conceptual language; the thesis is suggested that the poetic language born as a result of symbol and mosque has an irresistible importance in the expression of religious experience. The repetitive rhythmic language in the poem is not just the result of a aesthetic effort, and it is also emphasized the importance of repetition and rhythm in the awakening of mysterious emotions. In this context, the view of Aynü'l-kudat Hemedanî (p.1131), that the words in the language have a very meaningful depth in a vertical flat, is also stated that this view approaches the symbolic language in a sense.
Religious experience draws attention as a subject that has been more thought and discussed in the philosophy of religion lately. In this article, the nature and characteristics of religious experience were tried to be presented with the main lines. The main axis of our study is the forms and possibilities of expression of religious experience. As it is known, it is not only discussed whether the religious experience can be transferred to others, but also how the religious experience that is tried to be expressed can be transferred. In the literature, it is seen that the linguistic dimension is emphasized more when the expression of religious experience is mentioned, and other symbols and signs are not emphasized enough. Accordingly, it is one of the aspects that our dissertaion wants to emphasize that it is not enough to discuss the possibility of expression of religious experience only on a linguistic basis and that it manifests itself artistically and in a symbolic context. When the possibility of expression of religious experience is considered from the linguistic point of view, the poetic language put forward by Walter Stace (d.1967) while dealing with religious experience does not have a special means of expression compared to the rational-conceptual language, and that the language of poetry is nothing but an aesthetic form of the conceptual language view has been criticized. It has been argued that the language of poetry, which emerged as a result of symbol and metaphor mediation has an indispensable importance in the expression of religious experience. It has been argued that the language of poetry, which emerged as a result of the mediation of symbols and metaphors, has an indispensable importance in the expression of religious experience. It is also stated that the rhythmic language wich based on repetition in the poem is not only the result of an aesthetic effort, and the importance of repetition and rhythm in awakening mystical feelings is emphasized. In addition, in this context, Aynü'l-kudat Hemedanî's (d.1131) view that words in the language have a vertical plane and a very meaningful depth is also mentioned, and it is claimed that this view approaches symbolic language in a way.
Alan : Güzel Sanatlar; İlahiyat; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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