فهرست مطالب taghi poornamdarian

Determinism and free will have always been  among the most important and controversial issues of ideology of Muslims. They have historically provoked various disputes and judgments among the thinkers of theology, philosophy, and mysticism. The theological theory of the Mu'tazilites and Ash'arites on this subject comes to the fore by acknowledging the issue of duality between the obligated man and God. However, each endeavor ultimately leads to a different answer to the question of how the obligated man is related to God. By presupposing independence of Man from God and looking at them as two separate facts, theologians have tried to examine the issue of determinism and free will in a way that they do not face any problems in justifying the discussion of obligation and punishment for deeds in addition to preserving both the appearances of narrative and rational arguments based on the refusal of reincarnation and unity of God and Man. By relying on their intuitive experience of their unity with the absolute existence of God in the position of nearness to the supererogatory (Nawafil), mystics have presented another presentation of the relationship between Man and God. For Islamic theologians, determinism and free will are reasonable additions to the two independent parties of God and the obligated human being, whose duality is assumed to be certain, while mystics consider creatures as a ray of God’s absolute existence according to their intuitive experience of the way of relation between God and Man. They deny realization of a reasonable addition in the light of such a unity since a reasonable addition can be only imagined between two separate and independent issues, while they do not believe in the realization of such independence on both sides of the relationship between God and Man according to their theory of existence. Mystics examine the issue of determinism and free will in the light of the unity of God and slavery to Him, which is revealed in nearness to the supererogatory. In this view, which arises from a chimerical experience, they speak of a kind of determination that occurs due to separation from their own human attributes and annihilation in God considering the position of nearness to the supererogatory. To achieve this position, such annihilation and appearance of God’s attributes inside their hearts are required. Here, mystics deny their free will as an attribute of human nature. Moreover, they introduce their own free will as a description of God’s attributes that is manifested in them considering appearance of God’s names in their hearts and the fact that their creation has been reflected in the form of truth.

The concept of episteme and the means of achieving it in Sufi texts and writings have always been among the important thinking priorities of Sufi writers and luminaries. Furthermore, the issue of supernatural wonders or miraculous acts performed by Sufi spiritual masters (Karāmāt) is regarded as one of the most evident aspects of their manners and has come to be known as a true test and criterion for assessing the spiritual status of the saintly people. This research aims to answer these two questions: What is knowledge/episteme in Sheikh-e Jam’s view? And what is the connection between Sheikh Ahmad-e Jam's distinguishing supernatural wonders, i.e. transformation of the essence (qalb-e jowhar), and the definition of epistemology in his school of thought? To that aim, first, the status and definition of epistemology in the texts of Sufism are examined and then, the definition of the same concept in Sheikh-e Jam's writings and the features of knowledge and episteme in his works are explicated. Based on his writings, we can safely assume that Sheikh-e Jam thinks of knowledge as the elixir (as in alchemy) which leads to the transformation of the mystic's nature; he is also of the belief that achieving this knowledge coincides with gaining a special power to interfere with the essence of the objects. Then, the significance of the “transformation of the essence” in Sheikh-e Jam's writings and its connection with the doctrines of Karamiyya Islamic sect will be investigated. After these three introductions, the connection between the miraculous acts of Sheikh-e Jam and his specific epistemological stance will be illuminated. In view of that, the logic of narrating such spiritual feats will make sense in the field of contrastive discourse, beyond that of forgery and fabrication.

Epanalepsis is a literary device whose use in literary texts has a long history. Repetition of words in poetry has different forms, epanalepsis being one of them. This research, with a new approach, tries to trace the historical course of ancient Persian rhetoricians’ views on epanalepsis. It also describes other forms of literary repetition mentioned in their books. From rhetoricians’ point of view, there are six main positions in the structure of each verse of the poem. Epanalepsis is an example of the repetition of a word based on these positions. In Persian poetry, however, repetition has other patterns too. In the present article, these models are examined from a critical perspective in order to take a closer look at the rhetoricians’ critique of poetry and to pay more attention to this form of repetition in Persian poetry.

Metalepsis, in its narratological sense, is a trope in which an unnatural relationship is built between different levels of narrative. The natural relationship between narrative levels is formed by the act of narrating; a character from one level becomes the narrator of another. The term “Metalepsis of topic and illustration” can be coined to name a similar trope. This trope has been used for centuries in Persian poetry. Every Image comprises a topic and an illustration. The topic is what is being talked about and the illustration is what the topic is compared to. When several images are present along together, two different levels are distinguishable: the level of the topic and the level of illustration. The natural relationship between these two levels is similarity and any other relationship will result in metalepsis. As in the narratological metalepsis, there is always a paradox in the metalepsis of topic and illustration. The effect of these two kinds of metalepsis is also similar and can be humorous, fantastic, or a mixture of the two.

One of the major subjects in Mysticism is its path to gain Mystical knowledge and certitude; a path which is different to that of science and philosophy. In fact, using unveiling, Semi Dream (Vaghe'eh), intuition and generally mystical experiences and the manner of intuition in gaining Mystical knowledge, are the most basic subjects in mystical studies.  For better understanding the nature of unveiling (kashf), finding the manner of the perception of these experiences is more important than anything else. Scrutinizing human perception especially Mystical perceptions like unveiling (kashf) requires an opportunity for studying history of thought in Philosophy and Mystism, since Plato till now. But when the viewpoints of Sofia, philosophers and thinkers meet, it suggests that mystic creates the context of realization of unveiling (kashf) with spiritual struggle (mujahidah), endeavor (riyadah) and dhikr in an intermediary world, called Mundus Imaginalis. The heart of the mystic is the part for perceiving these experiences that makes the experience of unveiling (kashf) possible by gaining insight (Basirah) and applying a power, called active imagination and spiritual energy (himmat).

Christian letters like Letter to the Hebrews or Epistle to the Galatians are the type texts frequently studied by various approaches. Rhetorical critics also in rhetorical criticism of the Bible have had different and various attitudes and have adopted different approaches. That’s why in recent years rhetorical criticism has come to be known as way of analyzing Christian letters in the bible. In this essay we will study the evolutions and the reasons for changing attitude in rhetorical criticism of the Bible. In the short history of rhetorical criticism stylistic approaches will soon be replaced by the method base on classical rhetoric and after other methods based on interdisciplinary studies will be introduced. Limitations of stylistic approaches which only considered the aesthetical aspects of the letters is one of the most important reasons for the emergence of methods base on classical rhetoric, However the disputes over the relationship between rhetoric and epistolography and the prescriptive nature of these methods lead to other methods based on interdisciplinary studies being introduced.

Rashid al-Din Vatvat was a 12-century poet-writer at the Khwarazmshahid court, singing most of his panegyrics in praise of Atsez Khwarazmshah. In 1960 CE, Saeid Nafisi edited and published Vatvat’s Divan (collection of poetry). Although his edition, which has remained the sole amended version available of the poet’s Divan, is to be welcome, it is not free from certain errors and imperfections as the redactor had no access to the oldest manuscript of the Divan at the time and there seems to have been some rush in collecting and publishing the poet’s verses. Besides, Nafisi’s is not a critical edition and he has made no mention of the variations of the manuscripts used.
In the present article, based on documented evidence and examples, attempts have been made to show the errors unjustifiably entered in the Divan, and put forward their correct versions.

The "conterminous opposition" (the companion of two opposite pillars) is a term connects with rhetoric of syntax. This term is a kind of hidden structural art of Masnavi and several structures and different models of this art are going to be analyzed and explained on the basis of construction theory and rhetoric of syntax in present essay. Conterminous opposition in a sentence with similar grammatical identity (focus oppositions; the possessive conterminous oppositions and adjectival conterminous oppositions), conterminous opposition in a sentence with dissimilar grammatical identity, and conterminous opposition in two sentences including conjunctive and non-conjunctive oppositions are some of the oppositional models. Association of these models with other aesthetic elements such as different types of rhetorical techniques and the music of speech increases the meaning potential and their rhetorical elegance. This diversity has made Mowlavi's poetry being more dynamic linguistically, rhetorically and syntactically. The high frequency of this structural art has created a stylistic feature in the poetry of Mowlavi and impacts the semantic induction of his speech, especially the fundamental ideas of his mind, in addition to its rhetoric and aesthetic aspects. The conterminous oppositions have been introduced in present essay and the syntactic structure of the lines include this structural art has been analyzed aesthetically.