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

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 "prayer" have been used 182 times in the verses of the Holy Quran. This study intends to explain the concept of prayer and extract its semantic components from the Quran with a semantic approach. Therefore, the purpose of this study is to understand the root meaning of (prayer) in the Qur'an. After reviewing the verses including the root of the prayer and its derivatives, the prayer companions are further divided into three categories. Interfaith Companions: Coming, Hearing, Accepting, Believing, Guiding, Putting, Surrender, Conflicting Companions: Shirk, Disbelief, Misguidance and Loss and Complementary Companions: Allah, the Rabbit, the Apostle and the Human. By examining the companion vocabulary of prayer, the root substitutes for prayer and its derivatives are as follows: speech , Security, Science, Guidance , Compliance, Come , Disbelief and Providence . Finally, in order to reach the semantic components of the word prayer, we will examine the vocabulary companions of the word prayer and the companions of the word prayer, and the semantic components will be: speech, faith, science, guidance, coming, disbelief, grace, Wanting, hearing, sinking, adherence, truthfulness, Wisdom , scripture and endurance.

There is consistency between science and the Qur’an as long as we found it throughout the ages, and through this agreement between them, the Qur’an proves its miraculousness to all mankind, and its miraculous aspects are scientific and linguistic, and this is evident in the sounds mentioned in the Qur’an, and as science has shown us that sounds have energies and waves And vibrations that cause trembling, and they also have a power that the Qur’an did not ignore, and it mentioned in many places precise divisions that draw attention to them, we seek in this article to apply between science and language and to study the scientific topics that Dr. His book “The Qur’an is Knowledge and Explanation” and its application with the language according to the opinions of linguists about these names, and we tried to make an explanation about the sound in general, and the sound in humans and their speech and hearing apparatus, because the intensity of sounds in humans is linked by auditory consistency and how these sounds pass through Through it. The Noble Qur’an has mentioned vocabulary such as focus, whispering, imploring, shouting, shiver, and shrieking, and each of them has its own energy, ability, and level.

 There is a close relationship between Comparative Literature and Translation Studies, especially in the domain of influence studies. The famous German poet, novelist and dramatist, Johann Wolfgang von Goethe, from his early youth was somehow interested to the East, in the inclusive sense of the word, and regularly read the books, in different European national languages, on East and its people. While reading these miscellaneous books that he became acquainted with Muslims’ religious book, the Holy Quran, and greatly was influenced by it. This impact is quite conspicuous, notably, in his most comprehensive book of poetry, West- Eastern Divan (1819). The present paper tries, through the prism of Comparative Literature especially influence studies, to investigate historical and personal evidences. At the beginning Goethe’s familiarity with the Quran and its translations which he read are elaborated on. Later on, the twelve books of West- Eastern Divan and its long epilogue, Notes and Papers Written for a Better Understanding of Divan, are analyzed very precisely, and Goethe’s sources of inspiration are, one by one, identified and explained.

The Holy Quran is a miracle that appeared in the form of words and was finally revealed with eloquence and eloquence. For this reason, many creators of poetry and prose works in Persian literature have used it in different ways in creating their works. The manifestation of the eloquent words of the Qur'an in Hafez's sonnets is also impressive. In this research, it has been tried to investigate the various methods and techniques of Hafez's effectiveness in sonnets from the verses of the Word of Revelation.

The study method in the current research is documentary-analytical. This research deals with the methodology of the effectiveness of Hafez's sonnets from the Holy Qur'an and by dividing the methods of use and presenting examples of verses from the Holy Qur'an and verses from Hafez's sonnets, it has consolidated its hypothesis.

The presence of Quranic words, verses, interpretations, themes and styles in Hafez's sonnets shows his deep and comprehensive familiarity with the Holy Quran, Quranic sciences and topics - such as strong and similar, abrogated and abrogated, and jurisprudence of the verses - along with familiarity with interpretations. This is a heavenly book. Studies show that Hafez not only understood the meanings of the verses, but also knew about the relationship between the verses.

The most important and main areas of influence and modeling of Hafez's ghazal from the Holy Quran are included in these cases: influence of the measured connection of words and meaning in the Quran; Effectiveness of the pattern of verbal and semantic harmony of the Quran; Using Quranic compounds and words to create imaginary images; Effectiveness of the pattern of minimal pairs in the Qur'an; Effectiveness in the knowledge of Ghazals from Quranic techniques; Effectiveness of the Quranic declaration; getting inspiration from Quranic ideas; Effectiveness of the phonetic-semantic method of the Qur'an; Inferring a taste from the verses of the Qur'an; and helping to complete the rhymes of the poem.

In the Holy Quran, the sentences are connected to each other by means of accessories that make the verses coherent. One of the factors that play a role in its beauty and discovering its subtleties and hidden layers is coherence and continuity. This issue is investigated and studied in the field of new linguistics under the title of textual coherence. In 1976, Halliday and Ruqieh Hassan called the semantic, verbal, syntactic and logical connection of text components "cohesion" and their overall coordination in the vertical axis "cohesion". One of the most important tools of cohesion is link cohesion. In this theory, conjunctions are mentioned as a separate element, next to grammatical and lexical elements, under the title of linking elements. In this research, we intend to investigate and analyze the disagreements of the commentators and Ibn Katheer in this verse based on the theory of link cohesion, using a descriptive-analytical method, and specify how to categorize and analyze the disagreements based on this theory. The findings show that the analysis of the conflicting cases in this verse based on the theory of coherence indicates that the belief and lack of belief in the role of semantic linking of the sentences after and then with the preceding one shows the factor of difference in such a way that their opinions can be matched or not. According to the theory of coherence, he categorized.

The Holy Quran has created the biggest revolution and the deepest evolution in human society by an invitation to destroy all types of somatic and mental restrictions from body and mind of human. Its verses and stories are full of lessons in order to warn the unrighteous and the grabbers and invite the oppressed to stability and justice. Specially, its ahsanolghesas which pictures the poor access from the trough wells to the pick ambitions and from the humiliation of slavery to the gratification and honor in the divine trials by a special delicacy and the plot of “ my God is astute in what he wills”. The Arab poets, specially the Palestinian poets have called the unconscious of the audiences of their poems to the new implications of this religious heritage by inspiring from different aspects of Joseph story and adjusting its dimensions to the poetic experience and the truth of their time and they have risen to counter with land blockade and expropriation of culture by grabbing the religious heritage as a non-confiscation and non-blockade common human legacy.The current study has expressed the reflection of different dimensions of Joseph story in the poem of two prominent poet of the Palestinian resistance, Mahmood Darvish and Samih al-Qasim by analytical method and it has come to the conclusion that these two poets have made this story as an eruptive source for expressing the literary themes of sustainability by targeted calls of the story and they have made its characters as a symbol for the Palestinian state, the treason of some Arabic countries and their personal suffering.