Definition and usage

The hermeneutic circle describes the process of understanding a text hermeneutically. It refers to the idea that one's understanding of the text as a whole is established by reference to the individual parts and one's understanding of each individual part by reference to the whole. Neither the whole text nor any individual part can be understood without reference to one another, and hence, it is a circle. However, this circular character of interpretation does not make it impossible to interpret a text; rather, it stresses that the meaning of a text must be found within its cultural, historical, and literary context.

With Schleiermacher

Schleiermacher

Schleiermacher is the name of:* Friedrich Schleiermacher - German theologian and philosopher* Ruth Schleiermacher - speedskater* Steffen Schleiermacher - composer...

, hermeneutics begins to stress the importance of the interpreter in the process of interpretation. Schleiermacher's hermeneutics focuses on the importance of the interpreter understanding

Understanding

Understanding is a psychological process related to an abstract or physical object, such as a person, situation, or message whereby one is able to think about it and use concepts to deal adequately with that object....

the text as a necessary stage to interpreting it. Understanding, for Schleiermacher, does not simply come from reading the text, but involves knowledge of the historical context of the text and the psychology of the author.

Heidegger (1927) developed the concept of the Hermeneutic Circle to envision a whole in terms of a reality that was situated in the detailed experience of everyday existence by an individual (the parts). So understanding was developed on the basis of "fore-structures" of understanding, that allow external phenomena to be interpreted or in a preliminary way.

Another instance of Heidegger's use of the hermeneutic circle occurs in his examination of The Origin of the Work of Art

The Origin of the Work of Art

The Origin of the Work of Art is the title of an article by German philosopher Martin Heidegger. Heidegger drafted the text between 1935 and 1937, reworking it for publication in 1950 and again in 1960...

 (1935-6). Here Heidegger argues that both artists and art works can only be understood with reference to each other, and that neither can be understood apart from 'art,' which, as well, cannot be understood apart from the former two. The 'origin' of the work of art is mysterious and elusive, seemingly defying logic: "thus we are compelled to follow the circle. This is neither a makeshift or a defect. To enter upon the path is the strength of thought, to continue on it is the feast of thought, assuming thinking is a craft. Not only is the main step from work to art a circle like the step from art to work, but every separate step that we attempt circles this circle. In order to discover the nature of the art that really prevails in the work, let us go to the actual work and ask the work what and how it is."

Heidegger continues, saying that a work of art is not a simple thing (as a doorknob or a shoe is, which do not normally involve aesthetic experience

Aesthetic emotions

Aesthetic emotions refer to emotions that are felt during aesthetic activity and/or appreciation. These emotions may be of the everyday variety or may be specific to aesthetic contexts. Examples of the latter include the sublime, the beautiful, and the kitsch...

), but it cannot escape its "thingly character," that is, being part of the larger order of things in the world, apart from all aesthetic experience. The synthesis of thingly and artistic is found in the work's allegorical and symbolic character, "but this one element in a work that manifests another, this one element that joins another, is the thingly feature in the art work". At this point, however, Heidegger raises the doubt of "whether the work is at bottom something else and not a thing at all." Later he tries to break down the metaphysical opposition between form and matter, and the whole other set of dualisms which include: rational and irrational, logical and illogical/alogical, and subject and object. Neither of these concepts is independent of the other, yet neither can be reduced to the other: Heidegger suggests we have to look beyond both.

Gadamer (1975) further developed this concept, leading to what is recognized as a break with previous hermeneutic traditions. While Heidegger saw the hermeneutic process as cycles of self-reference that situated our understanding in a priori prejudices, Gadamer reconceptualized the hermeneutic circle as an iterative process through which a new understanding of a whole reality is developed by means of exploring the detail of existence. Gadamer viewed understanding as linguistically mediated, through conversations with others in which reality is explored and an agreement is reached that represents a new understanding. The centrality of conversation to the hermeneutic circle is developed by Donald Schön

Donald Schön

Donald Alan Schön was an influential thinker in developing the theory and practice of reflective professional learning in the twentieth century.- Education and career :...

 (1983), who characterizes design as a hermeneutic circle that is developed by means of "a conversation with the situation."

For postmodernists, the Hermeneutic Circle is especially problematic. Not only do they believe one can only know the world through the words one uses to describe it, but also that "whenever people try to establish a certain reading of a text or expression, they allege other readings as the ground for their reading" (Adler 1997: 321-322). For postmodernists, in other words, "All meaning systems are open-ended systems of signs referring to signs referring to signs. No concept can therefore have an ultimate, unequivocal meaning" (Waever 1996: 171).

For other thinkers, the fact of demonstration as a method to define certain words, clearly is evidence of a degree of shared experience among all humans. For example, anyone can point to the sun, as it exists, and then name it any sound, symbol, or word that represents or literally points to that actual being, the sun. There might be some disagreement about what the sun is exactly, but there is agreement that it exists, and that to a human on Earth it looks like the drawings and pictures we see of it. Therefore, some concepts and ideas are universal.

Critique

Judith N. Shklar

Judith N. Shklar

Judith Nisse Shklar was a political theorist, and the John Cowles Professor of Government at Harvard University.-Biography:...

 (1986: 657-78) points out the ambiguity in the meaning and function of the "circle" as a metaphor for understanding. It seems to imply a center, but it is unclear whether the interpreter he/herself stands there, or whether, on the contrary, some "organizing principle and illuminating principle apart from him [is] there waiting to be discovered." Furthermore, and more problematic for Shklar, "the hermeneutic circle makes sense only if there is a known and closed whole, which can be understood in terms of its own parts and which has as its core God, who is its anchor and creator. Only the Bible really meets these conditions. It is the only possibly wholly self-sufficient text." A further problem relates to the fact that Gadamer and others assume a fixed role for tradition (individual and disciplinary/academic) in the process of any hermeneutic understanding, while it is more accurate to say that interpreters have multiple and sometimes conflicting cultural attachments, yet this does not prevent intercultural and/or interdisciplinary dialogue. Finally, she warns that, at least in social science, interpretation is not a substitute for explanation.

Heidegger (1935-6) and Schockel (1998) respond to critics of this model of interpretation who allege it is a case of invalid reasoning by asserting that any form of reflection or interpretation must oscillate between particular and general, part and whole. It does not 'beg the question

Beg the Question

Beg the Question is a graphic novel by Bob Fingerman. It chronicles the trials and tribulations of Rob, a squeamish freelance cartoonist/pornographer, and Sylvia, a beauty salon manager with loftier aspirations, with a supporting cast featuring Jack, an unhappily celibate literary stalker; Max, a...

' because it is a different approach than formal logic. While it does imply presuppositions, it does not take any premise for granted. Schokel suggests a spiral as a better metaphor for interpretation, but admits that Schleirmacher's influence may have 'acclimatized' the term.