Interdisciplinary Studies in the Humanities

Abstract In 1966, Derrida's groundbreaking essay "Structure, Sign, and Play in the Discourse of the Human Sciences" introduced a paradigm that has since opened countless avenues for researchers. By deconstructing existing structures and reconstructing their components, this approach has ushered in new horizons for the creation of meaning. A comparative analysis within this research reveals that 37 years before Derrida, with his "Derridean Deconstruction," drew philosophical attention to this contentious concept, René Magritte, with his painting "The Treachery of Images," had quietly painted his own "Magrittean Deconstruction Manifesto" on the canvas of modern art. This painting is considered "one of the first horizons of post-structuralism." Although Derrida praised this painting, he never acknowledged the inspiration it provided in shaping and grounding his theory. This foundational, qualitative, library-based research aims to conduct a comparative study of Magritte's "The Treachery of Images" and Derrida's theory of "deconstruction" to unveil the hidden correspondence between the painting and the theory. By introducing and comprehensively explaining the key theoretical components of deconstruction, including logocentrism, binary oppositions, grammatology, différance, parergon, aporia, and dissemination, and by mapping them onto the painting, this article concludes that Derrida seems to have adopted these concepts from the painting as a model to approach, visualize, and interpret his theory. Ultimately, this painting alone is sufficient, explicit, and comprehensive to visualize and manifest the components of deconstruction.

Abstract Different aspects of the poetry of Hafez have been studied so far.  The material and non-material features of his poetry have been examined in different fields such as literature and anthropology. Due to the influence and importance of Hafez’s poetry, it seems that it can be studied from the perspective of other fields as well. Communications science is among these fields, dealing with how and why communications are established between the speaker and the audience. In the present article the nonverbal aspects in the poetry of Hafez are studied. It seems that the verbal aspects of his poetry are not the only factors that have made it remain popular with the audience through generations; nonverbal aspects have played a great part as well. This article aims to examine the literary work in terms of nonverbal communications in order to demonstrate the skill of the poet in establishing communications with its audience beyond the boundaries of speech; the poet’s mastery over this feature is also culturally interpreted. The utilized method is qualitative content analysis.