جستجوی مقالات مرتبط با کلیدواژه "rhetoric" در نشریات گروه "ادیان و عرفان"

The purpose of this research is to investigate the most prominent rhetorical techniques of Ibn Maʻṣūm Shirazi's poems. The statistical community of studying his mystical poems is the verses that Ibn Maʻṣūm, beyond the originality of the words, tried to align them with arrays through his perspective and intellectual thought to reach them. The main question of the research is what method and style does Ibn Maʻṣūm consider in the structure of the elements of a verse in applying innovative science and expression. In composing poems, he has given great importance to beautifying the language and literary arts of the field of innovation. It is necessary to know the most frequent ways of composing Ibn Maʻṣūm's poems and the style and context of linking them to his fundamental and mystical thoughts. Ibn Maʻṣūm is concerned that the most effective speech is the one that is more decorated; Therefore, it has given another effect to the types of images with the aim of emphasizing mystical themes, which is beyond the wording and embellishment of the verses; Ibn Maʻṣūm's goal is to highlight and influence his thoughts with the help of such literary works. This function in his poems has not been investigated so far. The result is that Ibn Maʻṣūm has made his poems more effective by knowing and mastering the functions of the science of expression and originality. Also, one of the findings of the research is that Ibn Maʻṣūm, like some poets of his time, used literary arrays in many poems, especially puns, contrasts, metaphors, similes, etc., and in this way he tried to embellish his poems.

Most mystic poets use the form and template of rhetorical questions to present mystical lessons. Kalim Kashani renowned for Khallagh Al-Ma'ani The 2nd. (990-1061) AH. One of the most famous lyric poets of the Indian style, using this linguistic and artistic style or important rhetorical construct, mystical thoughts such as the world, soul, charm, heart, independencemortality, attraction, sun, Hassan, effort, glass cup, owl, Poverty, cum, love, tayyar, murad ... In the form of rhetorical questions with different secondary concepts. The use of the kind of negation in the poems of Kalim-e- Kashani has the highest share and use (41.18%) for expressing mystical content. One of the main principles of practical mysticism is that it is necessary for the mystic first to prove the truth, to negate the attachments. Surprisingly, the product is the negation of belongings. Kalim-e- Kashani in his poems after understanding God's majesty by understanding his disability, has been raising rhetoric question to blame and criticize social hardship. This paper, using the content analysis method, aimed to acquaint the audience with the lessons of practical mysticism of Kalim-e- Kashani, have examined the mystical content of rhetoric question in poems of Kalim-e- Kashani. The use of illustrations and literary tools of allegory, association, Hosne Ta’lil and Jenaas has made the poet's rhetoric question tight. The rhetorical questions with the secondary meanings of denial, wonder, injustice and rebuke have formed the four main aspects of the themes of poems of Kalim-e- Kashani.

A rhetoric is a term used by Dr. Khorramshahi, the author of the book "Mind and Language Tongues", for a series of often-written and often humorous articles in a language that consists of two-tone binoculars. The meaning of words and sentences is, in his own words, "a phenomenon between ambiguity (ambiguity) and ambiguity (dualism and delusion)."Qadam Ali Saremi also believes that "a trick in addition to what happens in ambiguous two-tone sentences may sometimes occur in the narrative structure or in terms of words or grammar, for example, when in the story" Moses' speculations with Pharaoh. "At the end of the story, contrary to the expectation of Maulana, they do not conclude that they are against each other, but it states that in the presence of any human being there can be Moses and Pharaoh, and eventually unity, a phenomenon has occurred.Therefore, there is a sketch or structural explanation in sentences that can be derived from several concepts and meanings. Such sentences do not precisely describe the purpose and are fictitious and polygonal, and under different circumstances, one of the meanings can be chosen and claimed

The study of the relationship between form and content in mystical-literary works, in addition to explaining the functions of the elements involved in those texts, shows the author's motivations for writing that work. Mesbah-al-Headayeh is a famous and prominent mystical work of Ezzodin Mahmoud Kashani in the eighth century written on theoretical mysticism. By extending the appeal of Sufi theoretical thought, the author strives to demystify Sufi language, which is devoid of any emotional truth and sensual experience in the eighth century, But this extreme focus on the musical realm of language has nothing to do with its vulgarity and mysterious and sophisticated vocabulary and never speaks of authentic mystical experiences in the first centuries. In this article, the authors analyze the reasons for conscious use of music in Mesbah al-Hedayeh by explaining the contextual and extramarital motivations and factors. In general, the depletion of authentic mystical experiences in the eighth century, imitation of Ibn Arabi's mystical language in the development of mystical-musical worlds, the technical style and ability of the Arabic mystical and derivative structures, were the author's motives for conscious use of the word music. Meanwhile , comparative study of Mesbah-al-Hedayeh with its Arabic references shows the quantity and quality of impressibility of author from sheiks( preceptors) ' ideas .Author has strengthened the musical structure of word through using  the meaning of sheiks '( preceptors) ideas and referring to their ideas and  extending horizontal axis of sheiks' (preceptors) word .

Imperative Structure is one of the controversial issues in literary studies and the science of principles of jurisprudence. This issue is very important, especially in the field of Semantics, so that the diversity in interpretations has led to inference of two different judgments from the initial meaning of Imperative Structure about the same action, one of which is Mustahab (Recomended) and the other on is Wajib (Compulsary). In literary studies, rhetoric has the greatest contribution to the determining the primary meaning and explaining the secondary meaning of the forms. The scholars of jurisprudence have also used the achievements of rhetorical sciences to explain the meanings of the commandments, but, as a result of the difference in the functions of these two sciences, the scholars of the science of Principles of Jurisprudence changed the aesthetic attitude of the literary scholars in expressing the discussions to the attitude towards the deduction of the rules; and added to the delicacies of the discussion. Therefore, in view of the importance of the Imperative Structure as one of the three main structures in Arabic language, and as a means for communicating the rules of the laws of Shari‘ah, this research tries to study the dimensions of the two sciences through a comparative analysis; and also take a look at the ideas of the scholars of the science of Principles of Jurisprudence through a comparative approach. The scholars of the science of Principles of Jurisprudence have different ideas about the Imperative Structure, but what it seems to be true is that the explanation and limitation of the meaning of the structure should be based on the prevalence of its usage. Regarding the type of the demand expressed through the Imperative Structure, the fact is that what is understood from the structure is merely the seriousness of the demand; therefore, using the Imperative Structure for seriousness of the demand has a literal meaning, but for other purposes it has a figurative meaning. The fact that whether the action is compulsory or not can be understood from its application in Shari‘ah.

Rhyme (Fasele) is a Qur’anic notion in end of verses. Speaking about it started from Sibviyeh’s era (in d.180 H.A), but Rammani (d.384 H.A) was the first person who examined and defined it. From that time until now many definitions has been presented by Fariqain’s scholars, but couldn’t find a complete and comprehensive definition that exhaust to all aspects of rhyme. Because having an exact definition is an important and necessary point so it is necessary to evaluate a comparative examination on definitions of Qur’anic rhymes to bring about conditions for presenting a correct definition. In this case many questions were raise that are: what is Qur’anic rhyme? Why called with this name? Why scholars in defining rhyme are not accompanying? What are the criticisms of these definitions? What is the share of two great Islamic sects in defining rhyme? In this article exhausts to readouts, examines, analyses and criticizes rhyme’s definitions and clear out the reasons for its diversity and variety. Consequently tries to present more complete and more accurate definition that haven’t previous weakness and shortages.

The Shiite poetry is a fruitful branch of the tree of ritual poetry with a heroic, painful militant spirit, whose most prominent manifestation is seen in the Ashura’s poems. Yaghma Jandaqi is one of the best-known poets of the period known as “literary return” (Bazgasht-i Adabi) whose fame is due to Ashura’s poems and innovating the poetical format of elegy (noha). He created this format by making some changes in the structure of ode (qasida), and the structure of his elegies can be classified into four groups. Although Yaghma was not a scholar or scientist, not learning the rules of poetry from a teacher, his Ashura’s elegies are full of various literary techniques, and numerous literary innovations are seen in his poetical imageries. More interestingly, he – with much sagacity – has not used much formality in his poetical imagery. This has made this kind of poems understandable even for ordinary people. Having investigated literary techniques in Yaghma’s elegies in two groups of literal and semantic rhetoric, we note that since elegies were recited in group and with beating one’s chest, this poetical format has been full of alliteration, pun, and repetition, which increase the musical weight of the speech. Among the semantic literary techniques, literary devices such as contrast, symmetry, simile, and explicit metaphor – which are understandable for all people – have been mostly used.

This paper is a research on the Sufi language of Sheik Ahmad Qazali's Bahrolhaghighah. It seeks to examine the way mystical concepts of Sheik are getting across through his rhetorics and writing styles.Therefore, after skimming through Sufi's jargon and their characteristics, the figures of speech of Bahrolhaghighah in connection with meaning transfer through simile, metaphor, and some other figures such as paradox and exaggeration are explored and classified. Throughout the text it is endeavored to keep the relation between meaning and word of sheik so that the function of the relation and aesthetic role of time would be highlighted together.