جستجوی مقالات مرتبط با کلیدواژه « allusion » در نشریات گروه « علوم قرآن و حدیث »

The third lecture of Nahj al-Balaghah is called "Shegsheqiyah", in which the highest theological purposes are presented in the most beautiful rhetorical forms. One of the wonderful literary forms is the use of numerous metaphors and allusions that Imam Ali (as) used at once during this speech. Examining the above-mentioned metaphors and allusions, it is well understood that these words has gone beyond the level of standard and normative speech and has caused a foregrunding in the mind of the audience. Of course, foregrunding is done through various tricks and this research has researched only metaphorical and ironic tricks with the focus on what is the conceptual purposes of Imam Ali (AS). The method of this article is descriptive-analytical and its results show that the study of each of the foregrundings in the metaphors and allusions of Shegsheqiyah lecture, leads the audience to deep purposes and intentions. Some of these goals are such as the real position of the Imamate, the Imam's view of the people and the government, some of the behavioral characteristics of the previous caliphs, and also portraying the current and past situation. Realizing such purposes plays an important role in analyzing the discourse of Imam Ali (as) in Shiite thought.

Defamiliarization is a linguistic technique in which the speaker or writer tries to deviate from the standard language, which results in engaging the audience with some mental exploration, and thus provides the condition for a better understanding of the message to the extent that the effect will become much more significant than when using normal language. The Holy Qurʾan as a superhuman text has best used defamilairization in numerous instances and because of the importance of analyzing this technique in understanding one of the aspects of the miracle of the Qurʾan, this descriptive-analytical research, focusing on simile and allusion, attempts to scrutinize defamiliarization of substitution in the Qurʾanic ayahs related to the story of Prophet Noah (AS). The findings show that this technique has been effectively employed in the story of Prophet Noah in order to, among others, create exaggeration in the meaning and concept of ayahs, generalize the implications of ayahs, create excitement in the audience, generating mental exploration in them, and expand meanings and concepts of ayahs.

Allusion is one of the oldest and most widely used rhetorical devices, which because of, among others, compactness and linguistic brevity, the inclusion of a part of an absent text in a present text and the prominent role of the audience in merging and receiving this textual interference, has attracted the attention of poets in all periods and has added to the semantic richness and beauty of poetry. This literary device has been used in the poems of contemporary poets in more complex ways and with more variety of form and content, the analysis of which requires more detailed studies taking new approaches. On the other hand, Qur’anic stories are among the first texts that classical and contemporary Persian poets refer to in their allusions. Accordingly, in this study, the narrative-Qur’anic allusions in Fazel Nazari poetry were studied placing emphasis on the structural and formal diversity of his allusions to identify the most frequent narrative allusions as well as the methods and techniques using which he has employed the narrative allusions of the Qur’an in his poetry. A descriptive-analytical study of all six poetry books of Nazari showed that in terms of content, the stories of Adam (AS) and Yusuf (AS) are the most frequent Qur’anic allusions in his sonnets. Furthermore, structurally speaking, there are all kinds of combinational, multimodal, echoic, ironic, etc. allusions in his poems, which indicates the variety of applications and the complexities and artistic delicacies of this device in the poems of this poet.

Speaking ironically is one of the most important artistic effects of a language and it is the sign of the speaker's power of speech. The Holy Qur'an due to the common sense of the discourse of its audience, has used irony. Given the importance of the Qur'anic ironies and the role of commentators' rhetorical opinions in understanding this book, it is necessary to research in this regard. The present study, attempts to compare the two important and authoritative interpretations, al-Tibyan and al-kashshaaf, and to reveal the opinions of Tusi and Zamakhshari on the irony and allusion and the effect of irony and allusion in interpreting Qur'an. The results of this research which is done with descriptive and interpretive method, demonstrate that Tusi and Zamakhshari have both paid attention to these items: the difference between irony and allusion, the issue of considering the literal meaning, the issue of necessity in irony and the role of context in discovering the allusive meaning; and Zamakhshari have been under the influence of Tusi in some cases however Zamakhshari's discussions are more complete about the method of interpreting the verses of divine characteristics in which the literal meaning has no place and in explaining the reasons of using irony and allusion.

By introducing the theory of transtextuality, Gerard Genette opened a new chapter in the study of the relations between various texts, one category of which is intertextuality. According to intertextuality, the relationships between texts can be of three forms of explicit intertextuality, implicit intertextuality, and allusions. The religious motifs of the Qur'an have been an inseparable part of Persian poetry from its beginning. In intertextual terms, these Qur'anic motifs are among the main sub-texts influencing the creation of literary works. Qur'anic topics and concepts have not only been by themselves valuable for poets, but have been used to express mystical, romantic, folklore, and even political thoughts and interpretations. However, in any epoch only some of these approaches have been predominant. In Saib's ghazals, that can be considered as an encyclopedia of various subjects and themes, religious motifs are abundant. Words, terms, religious and moral topics, religious law, and stories are among the most important Qur'anic subjects existing in Saib's ghazals. This co-presence of Qur'anic themes and literary expression has provided the means for the literal, artistic and content richness of his poetry. Given the vast scope and the vital role of the abovementioned subjects, discovering and analyzing them from the perspective of intertextual relationships can lead us to a better grasp of his poetry. The present descriptive-analytical study tried to study these intertextual relations drawing on Genette's intertextuality. The results show that Saib has used words and terms in the field of “explicit intertextuality”, and Qur'anic ideas, insights and stories in the field of “implicit intertextuality”.

Ebrahim Golshani Bardaie was one of the great mystics of Khalwatiyya and a fanatical Sunni, whose literary and mystical character is not known widely enough by scholars. Golshani had his own tariqah in mysticism and had many disciples, and the Golshani tariqah in the Ottoman lands and Egypt is attributed to him. Golshani Bardaie is one of the many poets in whose poetry the strong effect of the Quran can be observed. His deep and extensive acquaintance with the Quranic teachings has made his words in various ways incorporate Quranic themes. The present descriptive-analytic study aimed to investigate the effect of the Quran on the manuscript of his Diwan, which is stored in Fatih Library in Istanbul with the accession number of 3866. The main focus of this study is examining literary devices such as literary tazmin, allusion, and Quranic adaptations that embrace both lexical and propositional methods of influence. The results show that Golshani's work was chiefly influenced by the Quran in allusion and adaptation, and most of his allusions relate to the stories of the prophets.

Being brief, allusions are used by the general public and enjoying figurative meaning, poets and writers often use them to avoid explicit and direct expressions. Because allusions are image-making and create suspension in the receiver's minds, they possess a privileged status in literature and poets have utilized them greatly. Abd ar-Rahmān Jami is one of the orators and writers who took a particular approach to allusions as important and useful tools of expression, so that he articulated most of his speech using allusion. In this study, we investigated the functions of the Quranic allusions in Divan of Jami, trying to specify the relationships between allusions used in this Divan and allusions and allusive expressions in the Holy Quran and thus to shed light on the similarities of this figure of speech in the Holy Quran and in Divan of Jami. The findings of this research indicate that in his employing allusion, Jami was influenced by the Quran in three ways: A) using Quranic allusions exactly as they are; B) giving an allusive meaning to the Quranic word or expression, hence creating a new allusion; C) using the same Quranic allusion in a new allusive sense.

The application of allusions as an expressive means has a long past in the history of peoples and nation's linguistics. Metonym is considered to be one of the most outstanding artistic techniques in language, showing the power of interpretation and the effect of speech. Due to rhetorical reasons and observing the discoursal norms for its audience, the Holy Quran is teemed with allusive expressions, the understanding of whose extensive meanings, which is beyond the apparent wording, is possible only through perceiving intricacies and literary and rhetorical points, particularly allusions. Thus, while briefly reviewing the concept of allusion among great rhetoricians and providing an approximate number of Quranic allusions and their different types based on rhetorical and exegetic texts, the present paper gives examples of each. In addition, stating the rhetorical reasons of applying allusions in the Holy Quran, this study concludes that using euphemism and avoiding dysphemism is one of the most important devices of this artistic style in the Quran. Finally, it proposes a new type/title of Arabic allusion for the meticulous analysis and determination of Quranic allusions.

The Prophet Solomon (a.s.)is one of the stars of the heaven of prophecy and is the fourth son of David (a.s.) from Bathsheba. Following Allah's command, the ProphetNathan named him Solomon meaning‘full of health’ sincethe world was full of peace and amity during his monarchy and reign. Yedidiameaning‘the beloved of God’ was his second name. The Prophet Solomon’s name is mentioned seventeen times in the Quran. He was the son and successor of the Prophet David (p.b.u.h) and was one of the great Divine prophets among the people of Israel. Like his father, he was a prophet as well as a ruler and a monarch. Hislife story has been mentioned in Iranian poets and writers’works the most of whichMasnaviMa’navi. In the present study, first, allusion and its features are briefly discussed andthen,the countenance of the Prophet Solomon (a.s.) is concisely introduced.Finaly, such issues ashis dominance over the demons and jinn, conference of birds, getting winds under control,rulership and eventually his death are deal with. Also, the Quranic and historical mentionsrelated to these issues arestated and their reflectionsin MasnaviMa’navi are discussed.

Qur''anic stories and verses have always been of interest to poets and writers. Poets informed of Qur''anic narrations and proportionate to their works'' themes and content، take avail of these stories and verses to make them more understandable and to find approval for their statements. Therefore، allusion as a literary device، reflects the poet''s awareness of a variety of religious and historical themes and events. At first glance، since this literary device provides old information and events، hardly can one accept in it innovation and motivation. However، according to the theory of motivation in formalism، ability، talent and power of imagery and expression of the poet can create innovative images from the most archaic themes and motifs so that the reader encounters a new ambiance. This article aims at studying motivation in Qur''anic motifs and famous stories in sonnets of poets in the last two decades. Through examples، it tries to support the hypotheses that although Qur''anic allusions have roots in unfalsifiable stories and verses، they always allow new images if innovative methods of language and expression are used.

“The state of being plain” is one of the features of the Holy Quran, taken as indicative of Quran’s expressiveness and clearness regarding its intentions. However, one of the aspects of Quranic miracles is its expressive miracle based on which verses have been revealed according to suitability and appropriateness of situation in an explicit and succinct form. In order to have a desirable understanding of a book it is necessary to be familiar with its linguistic and expressive features. Accordingly, to use teachings of the holy Quran, being familiar with linguistic features of Quran regarding expressing educations is necessarily needed so that an appropriate response could be provided for the ambiguities which might be created in some cases related to modes of expressions in Quran. The paper intends to investigate succinct nature of Quran which is one of its expressive features and also to analyze the reason of its occurrence. Although the common expressive method in Quran verses is given explicitly, because of some reasons such as observing politeness, examining people, providing inviolability for Quran, subjects with no importance, conveying more grace to servants, and proving the miracle of Quran allusions, references and succinctness are used in some cases.

Explicit expression of certain meanings is not favorable, but through allusion, those meanings can be expressed in more effective and eloquent ways. Allusion is more eloquent than explicit expression since it is similar to a claim with presenting evidence, it is an expression which aims to direct the mind of the reader from what has been said to what has not been said. Using allusion has different aims such as politeness, imagery, reasoning, and adornment or attraction of speech. Quran has paid attention to all aspects which can add to the attraction of discourse. One such device is allusion from which Quran has greatly benefitted, and it has been used in different occasions and with various aims. In this paper, with a descriptive-comparative approach and through the case studies of 16 verses, the different usages of this device has been investigated.

Integration of text is the result of linguistic approach to text oriented criticism. Gheisar Aminpoor, the committed and well known Iranian poet, is differently influenced by the Holy Quran. This influence is sometimes manifested in subject matter and content and in some other cases in words and expression techniques. In Aminpoor's poetry there are different types of adaptations: allusion, analysis, lexical impression, propositional impression etc. In addition to techniques based in Quranic teachings, which have obtained outstanding presence, Aminpoor has applied these techniques to express contemporary human sorrows and grieves who is deprived of spiritual ideas. Aminpoor's imitation from the holy Quran is so intricate that discovering the references is often difficult and requires a lot of care and attention. The present study tries to investigate methods of Aminpoor's Quranic imitation from intertextual point of view, a new linguistic perspective.

Rays of miraculous eloquence of the holy Quran, a book which is the unique example and the majestic model of eloquence, is reflected in the holy prophet’s words and later on has manifested itself in Imam Ali’s Nahj al-Balagha. The present essay reports an itinerary of stream of eloquence in that great, celebrated book.

The revelation of the Quran has ever since a huge impact on the minds and tongues of poets and writers in Persian literature.
Scholars and poets of the Persian language, in many of the themes and concepts have adduced the Quran and Quranic teachings, and they tried to incorporate parts of the verses and Suras from the Quran through allusions, embodiment, and quotations.
In addition, some of the poets attempted to translate or interpret the verse or verses from the Koran into Persian poems.
And so they have tried to make it easy to understand the Holy Quran.
This study aims to present a brief introduction to the interpretations of the Quranic verses in Persian literature and rhymed interpretations of the Surat of Yusuf, and to introduce a version of interpretation of the Surat of Yusuf which value is unknown.
This interpretation is in the Persian poetry and its poet is Seyyed Morteza Dezfuli who chose “Raji” as the pseudonym.
With the number of verses it is the longest interpretation that explains and interprets every single verse in the Quran and it’s of the valuable commentaries in Persian literature