جستجوی مقالات مرتبط با کلیدواژه « قرآن » در نشریات گروه « ادبیات و زبان ها »

In this research, which is written in a library style and with a descriptive-analytical method, it is intended to point out the word despair and hopelessness and that its roots are in Western thinking (nihilism); Answer the question whether the despair in the poems of the Third Brotherhood is caused by nihilistic thoughts or not? Despair in contemporary literature begins after 1320 AH and reaches its peak with the coup d'etat of August 28, 1332 AH. At the same time, the society had a great impact on the poetry of the poets of this period due to political and social reasons. A kind of despair that after the August 28 coup on the poems of the poets of this period, according to the period of time, has not been unaffected in the poems of the Third Brotherhood, and the causes of despair and hopelessness and its effects in his poems, caused him to express his feelings in this pay the ground This research aims to introduce the word despair from the point of view of etymology and express the various concepts of this word from the Islamic, literary and philosophical point of view. Then he criticizes the despairing poems of Mahdi Akhwan and since the root of nihilistic thought originates from Western schools, by examining the views of two Western nihilistic philosophers, Spinoza and Nietzsche, he expresses the view of these philosophers and finds the influence of this view in the poems of Akhwan. . The basic solution of the article is pointed to the holy religion of Islam, which searches for the way of happiness and happiness of man around the Qur'an and Hadith with the hadiths and traditions of the imams of purification and Quranic verses. Undoubtedly, the content presented in the Quran and Hadith can be the main criterion for us in this criticism.

Gasemi Gonabady (1603) is a famous poet for his National _Historical epics. At the beginning his Masnavis he starts with a introductory part and then he arrange a Mearaj _ Name. Ghasemi has described the Mearaj of the Prophet Muhammad in a strong and high quality of poetry in such a way that can consider his Mearaj _ Name as a superior part of his poetry. Gasemi described a very exciting picture of this Journey. In the present research first all Mearaj _ Name from Masnavis of Ghasemi were evaluated and all aspects of Mearaj was arranged as he described; then was compared with those in the book of Al Mearaj written by Ghoshairy. By this comparison   Theses questions were answered: 1) which steps of this Holy journey did come to attention of Ghasemi?2) what are commonality and the difference between Ghasemi and Ghoshairy. The results showed that although Ghasmi and Ghoshairy,s point  of  view  are very  closed  to each  other, but Ghasemi had described  Mearaj  events  more. precisely with more relevant pictures. Both poets believe to bodily Mearaj. hasemi believes that Prophet Muhammad saw God with a heavenly eyes, but Ghoshairy  blives that  Muhammad  saw God with the  real eyes. Ghasemi in his poets had not mentioned the date of Mearaj, opening the chest and washing the hands of prophet Muhammad; although Ghoshairy has pointed to these two points. In this paper other differences also have been mentioned.

Phonetic stylistics, as one of the branches of stylistics, has an important position in linguistic research. Based on the descriptive and analytical method, the present study has studied the stylistic analysis of Surah Saffat from two phonetic and lexical levels in order to examine the most prominent phonetic and lexical aspects of the mentioned Surah, such as the nature of the letters and the frequency of its repetition, rhythm, puns, and syllables used in it. The findings indicate that phonetic elements such as repetition, rhythm, puns, etc. as examples of phonetic elements, play an important role in conveying concepts and meanings. From the lexical point of view, the use of sound masculine plural from with high frequency and past verbs in baab-e-taf'eel has been more effective in the Surah. And finally, both sounds and words are in line with the topic of the Surah, which is the expression of God's monotheism and the punishment of polytheists.

Shams al-Din bin Mohammad Nizari Qahestani is considered one of poets of the 8th century, the present research has introduced a short introduction of his life and works, then introduces the lyrical poem Azhar and Mezhar and seeks to reach the moral and Quranic points hidden in this. The poem is romantic. By re-examining this poem, he finds poetic evidence based on Quranic and moral concepts, and by extracting verses, he has categorized it, and in the frequency chart of each of the educational moral concepts, he has identified the Quranic concepts in this poem. Like the discredit of the world, away from pride and forgiveness, patience and effort and away from violence, secrecy, etc.Most of his moral-educational teachings have a religious and its aspect are considered part of the ethics of servitude . He has spoken about social ethics, and in this lyrical system, he has been able to include valuable moral points from the Quran in the form of a story and remain eternal in his poetic mission.Key words: Quran, moral teachings, education, wealth, religion

Semiotics aims to uncover the conventions that give rise to meaning and assigns each word as a sign based on the concepts of the signifier and the signified, as well as signification. This research examines the word "Alast" ("Am I not your Lord?" Quran:7/172) in Masnavi Manavi using an analytical-descriptive method and relies on layered semiotics. As an abstract sign, the word carries various meanings. Jalāl-al Din Rumi, like other Quranic words, has undergone semantic evolution and has created innovative interpretations within its context. Whenever he refers to the word, he establishes specific semantic links with a particular concept. This article investigates these specific semantic connections. The research results indicate that Rumi has employed this word in semantic fields with a unique artistic function. By mastering the mystical, philosophical, historical, and psychological content, and most importantly, the Quran and Hadiths, Rumi has effectively expressed profound content through this word. His intention was not merely to use the word as rhetoric.

A group of Quranic commentators have claimed that the reason for the revelation of Surah Hajj, verse 52 (the "verse of the Prophet's Desire") was an incident in which Satan whispered words affirming the position of intercession of the idols worshipped by the polytheists, while the Prophet Muhammad (peace be upon him) was reciting the Quran. Upon discovering the source of these words, the Prophet became saddened and distressed. Subsequently, this verse was revealed, providing solace to the Prophet and informing him that Satan had also made insinuations to previous prophets, but Allah dispels these satanic insinuations and establishes His verses. This study aims to investigate the validity of the claim that Surah Hajj, verse 52 is connected to the aforementioned story. In this regard, an analysis of the textual context of the Surah reveals that the proposed connection is untenable. This is because there is a continuous context from verse 42 to 57, and verse 52 can only be understood within this context. According to the context, the Meccan polytheists were demanding the swift arrival of divine punishment and considered its delayed arrival as evidence of the ineffectiveness of Muhammad's prophethood. The Quran's response to them is that previous prophets also expressed a desire for the manifestation of God's fearsome signs, and in response to these desires, the devils cast doubts. However, punishment eventually came, and God's instructive signs were fulfilled, and the devils' doubts were dispelled.

Bijan Elahi is one of the "other poetry" poets who in the 40's turned to a type of white poetry in which mystical concepts and influence from the verses of the Qur'an are abundantly seen. If mystical symbols, metaphors and images in general are not interpreted in his poems, a huge and important part of the content in divine poems will be neglected. Of course, sometimes the Divine Vision refers to the verses of the Qur'an directly and only through the lexical level of words, and sometimes the divine references to the verses of the Qur'an depend on the interpretation of the images and the relationship between the components in the axis of coexistence and succession. In this book, the authors intend to analyze all the influences and also the divine attitude towards the verses of the Qur'an in the order of his poems in the two collections of poems "Youths" and "Seeing" in a descriptive-analytical way, as well as the process of the formation of meaning to The means of using Quran by Bijan Elahi is also of interest to the authors in this research. From the results of this research, it can be pointed out that in the poetry collection "Seeing" the lover is often real, and in the poetry collection "Youths" the lover is virtual and the type of love is often carnal.

The aim of the present study is to examine the role of appeal to customary assumptions in the understanding and interpretation of Islamic texts (verses and narrations). The research method is descriptive-analytical and is based on the hypothesis that customary assumptions serve as an implicit contextual clue (qarīnah lobbi) in understanding the verses and narrations of Islam. Without considering these customary assumptions, one should not approach the interpretation of Islamic verses and narrations. The appeal to customary assumptions in understanding the verses and narrations relies on the absence of prohibition by the Maʿṣūm (infallible), tacit approval by the Maʿṣūm, and other differences that distinguish it from the reprehensible analogy (qiyās madhmūm) practiced by some sects. The customary assumptions of the Shāriʿ's (lawgiver's) audience, in cases where they align with the customary assumptions of later periods, are the criteria and basis for appeal.

In the terminology of the Quran, the people of Iḥsān are known as Muhsinīn. This word is one of the frequently mentioned terms in the Holy Quran and appears in forms such as Muhsin, Muhsinīn, and Muhsināt. Within the semantic system of the Quran, this word acquires a special semantic connotation in relation to other words. The broad spectrum and vastness of the concept of Muhsinīn in the Quran, along with examining the structure and context of the verses focused on understanding the term Muhsinīn, leads to a correct and comprehensive understanding of the Quranic verses. In this regard, the present study, using a descriptive-analytical method, explores the semantics of Muhsinīn in the verses of the Holy Quran through the method of collocation. The findings indicate that the word Muhsin is an active participle derived from the verb Aḥsana and is used in the Quran in two meanings: one refers to those who do good and benefit others, and the other to those who perform righteous deeds and exhibit virtuous behavior, whether these actions are practical, spiritual, or doctrinal. This word has collocates such as Muttaqīn (the pious), Ṣābirīn (the patient), Mujāhidīn (those who strive), Mufliḥīn (the successful), and Munfiqīn (those who spend in charity), with which it shares semantic relationships. When mentioned alongside Muhsinīn, these words illuminate different dimensions of Muhsinīn and enhance its meaning.

The main aim of this research is to conduct a comparative analysis of the metaphor Qalb Salīm (sound heart) and its relation to mental health. The primary question is whether the term Qalb Salīm is synonymous with "mental disorders." The research methodology is based on a library-based study and interpretative analysis. The findings indicate that in Iranian, Hebrew, Roman, Greek, and pre-Islamic Arab cultures, the heart was considered the center of emotions. However, with the advent of Islam, the heart was introduced as a center for cognition in Arab culture, thus expanding its function. In another type of analysis, the collocation and substitution method revealed that the Quran's mention of the heart alongside other sensory tools such as samʿ (hearing), ṣadr (chest), and fuʾād (intellect) is entirely metaphorical, implying a form of rational and emotional inner, non-material understanding. Qalb Salīm cannot be equated with "mental health," just as Maraz al-Qalb (disease of the heart) due to sins, as mentioned in the Quran, cannot be equated with "mental disorder." This is because, on the one hand, the realization of a diseased heart involves an element of intent and choice, while many mental disorders are not the result of sins and do not involve intention, or at least deliberateness, in their occurrence. Moreover, many mental disorders stem from physical causes that are unrelated to sin. As a result, due to the numerous inconsistencies, interpreting the concept of Qalb Salīm as the psychological term "mental health" is erroneous and should be avoided. Each term should be used exclusively within the scope of its respective discipline.