French title: Eloge à Abraham, de La Crainte et Tremblement à Hamoun (English title: Praise to Abraham, of Fear and Trembling to Hamoun )

Q: How can I download an article?

To download an article from SID, first log in to the site, search for the article title, and click on the 'Download Article' option.

Q: How can I download an ISI article?

To download an ISI article on SID, enter the keyword or article title in the search bar, view the relevant results, click on the desired article, and select the 'Download Article' option.

Q: How can I access the SID database?

To access the SID database, visit SID.ir, create an account, and log in to access scientific resources.

Q: Is downloading articles from SID free?

Some articles on SID are available for free, while others require payment. Details are specified on the article's page.

KEYFAROKHI MEHRNOOSH

Title

French title: Eloge à Abraham, de La Crainte et Tremblement à Hamoun (English title: Praise to Abraham, of Fear and Trembling to Hamoun )

Author(s)

KEYFAROKHI MEHRNOOSH | Issue Writer Certificate

Keywords

French key word: Abraham

Kierkegaard

Hamoun

Victime

Choix

Mehrjouï

Shakibaï(English key word:Abraham

Kierkegaard

Hamoun

victim

choice

Mehrjouei

Shakibaei)

Abstract

French abstract: Dans cet article, on é tudiera le modè le du ré cit de l'é preuve d’ Abraham. Ce modè le bé né ficie d'un genre de ré cit qui cré e une sorte de conscience et cette derniè re va cré er à son tour une autre narration. On aperç oit cette continuité de cré ation dans La Crainte et tremblement et dans Hamoun. Le premier est un essai du philosophe danois Sø ren Kierkegaard, é crit 1843, qui met en scè ne l’ opposition entre l’ é thique et la foi. L’ é thique se rapportant au gé né ral, la foi joue par contre au niveau personnel. Ainsi Kierkegaard raconte les hé sitations d’ Abraham qui, accompagné de son fils, avanç ait vers Morija où il devait tuer Isaac selon l’ ordre divin. Les parties suivantes s’ occupent de ce mê me thè me mais abordent une aventure diffé rente qui est plus personnelle. En ce qui concerne Hamoun, il s’ agit d’ une oeuvre ciné matographique projeté e 1989 dans lequel le personnage principal, Hamid Hamoun, s’ occupe de la ré daction d’ une thè se intitulé « L’ Amour et la foi dans les religions abrahamiques ». En fait, son but consiste à connaî tre l’ essence de la foi et de l’ amour à travers le ré cit d’ Abraham mais n’ ayant pas abouti à une conclusion pré cise, sa vie personnelle avec sa femme qu’ il aime follement confronte avec des problè mes sé rieux. Aussi peut-on observer la trace du contenu de ce ré cit chez les poè tes iraniens comme Mowlana, Hafez, Khayyâ m etc. En fait, les oeuvres de ces derniers contiennent une sorte d'é loge pour ce grand prophè te. Cette derniè re ré sulte de la conscience humaine qui est entremê lé e du doute. En fait, pour l’ homme ordinaire, l’ é preuve prophé tique se transforme en dé cisions pour les coï ncidences quotidiennes qui nous informent du conflit entre l’ homme et ses Choix. Il s’ agit d’ une vé rité qui met en relief le besoin de l’ homme d’ une certitude profonde. En é tudiant les mises en scè ne de Hamoun et la dialectique lyrique de Sø ren Kierkegaard, on essaiera d’ é tudier le cycle infini de l’ existence des personnages confronté s aux circonstances de la vie et le message des ré cits basé s sur l’ histoire de Morija, la montagne dé signé e par Dieu où Abraham devait sacrifier Isaac. Celle-ci constitue la base des autres ré cits puisque là , il s’ agit de la conscience humaine. Et, chacun en profite selon sa compré hension et puis il essaie d’ influencer les autres. A la fin, ce cycle ré pé titif informe l’ homme de cette vé rité qu’ il lui faut sacrifier ce qu’ il possè de pour atteindre un Idé al pré cieux et tout ce qui est sacrifié atteindra une transcendance plus é levé e; qu’ il s’ agisse de son enfant, de son amour ou de sa vie. English abstract: In this article, we will study the model of the story of Abraham’ s trial. This model benefits from a kind of narrative that creates a kind of consciousness and the latter will in turn create another narrative. We see this continuity of creation in Fear and Trembling and in Hamoun. The first is an essay by Sø ren Kierkegaard, written 1843, which portrays the opposition between ethics and faith. As ethics relate to the general, faith plays on the personal level. Thus Kierkegaard recounts the hesitations of Abraham who, accompanied by his son, was advancing towards Moriah where he had to kill Isaac according to the divine order. The following parts deal with this same theme but address a different adventure that is more personal. As far as Hamoun is concerned, it is a cinematographic work projected in 1989 in which the main character, Hamid Hamoun, is in charge of writing a thesis entitled «Love and faith in the Abrahamic religions». In fact, his goal is to know the essence of faith and love through the account of Abraham but not having reached a precise conclusion, his personal life with his wife whom he loves madly confronts with serious problems. Thus one can observe the trace of the content of this narrative among Iranian poets such as Mowlana, Hafez, Khayyam etc. In fact, the works of these latter contain a sort of praise for this prophet. The latter results from human consciousness, which is intertwined with doubt. In fact, for the ordinary man, the prophetic trial is transformed into decisions for the daily coincidences that inform us of the conflict between man and his choices. It is a truth that highlights man’ s need for profound certainty. By studying Hamoun and the work of Sø ren Kierkegaard, we will try to study the infinite cycle of the existence of the characters confronted with the circumstances of life and the message of the narratives based on the history of Moriah. This is the basis of the other narratives. In the divine trial of Abraham, the prophet must sacrifice his son for the will of God. He succeeds; he reaches a higher place grace because he renounced his own desire. By studying the structure of the primordial narrative of Abraham and his trial, we can realize the existence of three fixed elements: man, his guide in the form of his consciousness or of another personage, and the higher force that presents itself in the form of fate or God. In Kierkegaard’ s Fear and Trembling, the philosopher used Abraham’ s narrative to tell his own story so that Isaac is replaced by his earthly love and the philosopher is regarded as Abraham. In the film Hamoun, Shakibaei, who plays role of Hamoun, confronts contemporary times and he strives to preserve at all costs his couple life that she intends to leave. Through the film, all the moments that recalls the beautiful memories of Hamoun with his wife and son show that the happy and pleasant past has turned into a bitter reality. In fact, resignation towards the will of life, forced him to accept reality. Thus, in the eyes of Mehrjouei (the director), God who is the pure truth has transformed himself into bitter and inevitable reality; more precisely God is no longer an abstract concept, He is the grave reality of daily life, therefore, the one, kind and admirable god of Abraham is replaced by tyrannical society, the harassment of conscience and the difference of social classes. In the film, the place of the three elements of the story can change. Thus, it is sometimes Hamoun himself who is the victim. But there is a fundamental difference between this character and Abraham or Kierkegaard. He is not a prophet, nor a deistic existentialist philosopher. He is a man in search of the truth. Sometimes, the other characters who present themselves in the form of a guide are sacrificed. By way of example, we can talk about the character of the mother, the psychologist, his former friend or the lost lover of Hamoun. In addition, we must not forget the role of the innocent child of Hamoun, Ali, who is most similar to Isaac. The list of victims is exhaustive, so we can add an old grandmother who is lost in her religious ideas or a mentally ill person. By studying deeply Fear and Trembling and Hamoun, we can understand that all those who are influenced by the story of Abraham, after having created their masterpiece, had the intention to know like Abraham their satanic aspect but also their prophetic aspect. And, by examining their souls, they were able to know God, to know themselves and thus transmit to the reader or to the viewer the new consciousness. Sø ren and Hamoun were able to find the evil that feeds this existential opposition. And all, even those who have resigned themselves are not faced with failure, for in the face of the certainty they had obtained and that to which they did not yet have access, there was a certain faith. And, this difference has created Fear and Trembling, Hamoun, Masnavi, the Divan of Hafez, Rubaiyat of Khayyam and Mantegh-Ateyr of Attar, and none of these masterpieces will question the validity of the others. Access to the truth of Abraham’ s trial on the part of believers is the beginning of a grave doubt which leads to their identification with Abraham. From the point of view of the man who is passing the test, this doubt is null and fruitless but it is at the same time an obligatory success for Abraham and as for Hamoun and Sø ren, the test brings them a difficult life where the bitter logic of life breaks out. In Abraham, this doubt is shown in the form of the refusal of the son’ s sacrifice or even his own sacrifice, and in Hamoun, this hesitation is present when in search of his friend – his spiritual guide – he asks himself, "what can he do for you? ” , in Sø ren, the doubt is manifested every time he confronts the commitment to his love. Indeed, there has always been a kind of consciousness between God and man that is transformed from an absurd illusion to a real certainty. In Abraham’ s story, this doubt, because of the place of the prophet is represented when he thinks of the temptation of Satan. In Fear and Trembling, Kierkegaard goes beyond limited existence, and as a result, certainty makes him present as a religious philosopher. In Hamoun, the capacities of cinematographic art stage the different moods of the character as an illusion or a mental and spiritual search. Sometimes these images are related to another character like the mother or her friend Ali Abé dini. By crossing his memories in the dream and awakening, Hamoun judges him, is sometimes judged or he is questioned for his actions, his words and his ideas. And precisely at the moment when the trial takes the form of a cycle for the two human characters, namely Hamoun and Kierkegaard, they close their eyes to the earthly world and all the loves that bind them. All the difficulties, worries and sacrifices of those close to us end and the cycle in which God and man find themselves gives all that is necessary to man and takes them up according to circumstances and coincidences. Thus the modified man will be born. In fact, Abraham’ s story transformed with Hamoun and Sø ren or limited to Abraham’ s own prophetic personality, has two results: the first includes the Abrahamic certainty which was formed through the noble human qualities and results in the divine and human presence considered as a serene faith and the second presents man in the context of uncertainty and existential despair. In the second case, man will regain his faith as Abraham or else will continue the limited cycle of his own existence. indeed, Abraham obtained such certainty which seems to be inaccessible to the human being. But the narrative of this narrative alludes to this important remark that man cannot access certainty unless he loses all his attachments because of his choice and because of his commitment to what he has chosen. All these losses are arguments for new varieties. But the passage of this cycle and faith in the happy Abrahamic end is not easy. Like Hamoun who loses his love, his child and his search for the trial of Abraham – in a word, his life – and that he can no longer find them despite their loss and despite faith in his dumb god. In fact, this certainty is obtained completely only in the account of Abraham and for us, humans, it is always incomplete.

No record.

APA: Copy

KEYFAROKHI, MEHRNOOSH. (2021). French title: Eloge à Abraham, de La Crainte et Tremblement à Hamoun (English title: Praise to Abraham, of Fear and Trembling to Hamoun ). RECHERCHES EN LANGUE ET LITTERATURE FRANCAISES, 15(27 ), 86-101. SID. https://sid.ir/paper/955157/en

Vancouver: Copy

KEYFAROKHI MEHRNOOSH. French title: Eloge à Abraham, de La Crainte et Tremblement à Hamoun (English title: Praise to Abraham, of Fear and Trembling to Hamoun ). RECHERCHES EN LANGUE ET LITTERATURE FRANCAISES[Internet]. 2021;15(27 ):86-101. Available from: https://sid.ir/paper/955157/en

IEEE: Copy

MEHRNOOSH KEYFAROKHI, “French title: Eloge à Abraham, de La Crainte et Tremblement à Hamoun (English title: Praise to Abraham, of Fear and Trembling to Hamoun ),” RECHERCHES EN LANGUE ET LITTERATURE FRANCAISES, vol. 15, no. 27 , pp. 86–101, 2021, [Online]. Available: https://sid.ir/paper/955157/en

No record.

Scientific Information Database

ISSN: 2588-4824

Journal Paper

French title: Eloge à Abraham, de La Crainte et Tremblement à Hamoun (English title: Praise to Abraham, of Fear and Trembling to Hamoun )