فصلنامه پژوهش های ادبی - قرآنی
سال هفتم شماره 2 (پیاپی 26، تابستان 1398)

Synonym is a conceptual relation which is agreed between Linguis Quran and interpretation scientist. Understanding the methods of applying syntax to interact with the type of vocabulary overlap and delineating the semantic field of syntactic vocabulary and examining its distinctions and implications is essential for a proper understanding of verse meanings.The main question of this study is: what are the forms of linguistic syntax application in the Quran? According to unity of style procedure and partialy synonym studies the Almizan  generalized views  to interpretation of  Quran verses. In this research we surveyed  the view points of allameh about synonym in Almizan based on analytical method and content description. Along with accepting the difference in the original meaning of the words, Allameh bring up the kind of relative synonym named kalmotaradef. Inspite of differences btween the emotional aspects, mutual words, scope of meaning and semantic inclusion the synonym based on the meaning of conformity in the core of semantics is a certain and imminent matter. Allameh did not considered the differences between some verses because of  the Therefore, synonymy means conformity in the main semantic core, despite the difference in the emotional aspects, is realistic in terms of the mutual terms in the scope of meaning and the inclusion of meaning in the succession and difference in the companions. clarity in their meaning. Therefore, by explaining the conceptual relations at the level of the word and with the distinction between absolute and relative equivalence, there is no absolute equivalence.

Fakhreddin As'ad Gorgani’s Vis and Rāmin</em>is a realistic poetry collection based on an ancient story in the Pahlavi language dating back to the Parthian period, which was poeticized in the fifth century. It is not expected that the Qur’anic concepts are referred to in this story since it goes back to the pre-Islamic era. However, the poet has abundantly used the lexicon and concepts of the Qur’an in the explanation of propositions and the order of verses. The present analytical-descriptive study, drawing on the theory of intertextuality, seeks to evaluate this poetry collection based on its intertextual relationship with the Qur’an and Qur’anic themes. This study is theoretically based on the ideas of theorists of intertextuality, so that in addition to uncovering the solid structure of ayahs, the literary tricks the poet has used in expressing such divine themes in his work might be clarified. The findings show that despite the dominance of special lyric literature in the text and the representation of love and lyric in it, the poet, influenced by Qur’anic truths and Islamic beliefs, has clearly used Qur’anic propositions in such a way that his work, beyond a lyric poetry collection, manifests itself in the minds of the audience as a collection of Islamic and religious beliefs.

Applying new linguistic theories in the analysis of religious texts puts new horizons before researchers in both domains. One of these theories is Austin and Searle's speech acts theory. The study of the relationship between the speaker's mind and the actions performed with language is the main objective of this linguistic theory, which was raised under the influence of studies in analytic philosophy. Applying this theory to the analysis of Qur’anic texts reveals the deep layers of the meanings of the ayahs and shows how the various propositions and patterns in the Qur’an can be taken to mean differently given the register and the context of the ayahs. The present descriptive-analytical study that relies on John Searle's model in the aforementioned theory, analyzes the speech acts in Surah Maryam. The results show that among Searle’s five basic speech acts, declaratives, commissives, and expressives have the highest frequency in Surah Maryam. The declarative act is often used to recount the history of peoples misled and eventually due to negligence and defiance of religious leaders, perished. The commissive act, while informing the audience about the fate of the predecessors, encourages them to follow the path of happiness and salvation. The expressive act expresses the mental states and emotional conditions of the characters mentioned in Surah Maryam. Most of these acts are indirect and the interpretive power and depth of meanings of the ayahs are in a way that in many cases there exist more than a single speech act.

Intertextuality, which deals with the relationship and the interaction between texts, is one of the newest theories in new criticism, According to this theory, texts and their producers are influenced by each other and they consciously or unconsciously use the literary and intellectual origins of each other. It has long been common among Persian poets and writers to use Qur’anic concepts and teachings to add credibility and richness to their work. The literary and rhetorical aspects of the Qur’an along with the Qur’anic ethical concepts and teachings, have created the attraction of such attention. Tarabol Majales is one of the works of Persian prose belonging to the eighth century, which is one of the most considerable periods due to the   influence of the Qur’an and hadith as well as Arabic literature on Persian literature. Using Qur’anic ayahs and hadith, the author of the book, Mirhossein Heravi, has been able to write his book containing ethical and informative points. Throughout the book, one can see his familiarity and fondness of the Qur’an, religious and mystical teachings. The present descriptive-analytical paper aims to analyze this feature by using Gérard Genette's method of analyzing intertextuality. The results show that there are two types of explicit and implicit intertextuality in Tarabol Majales and Heravi has employed explicit intertextuality more frequently and in the form of adapting from Qur’anic ayahs in various forms and for different reasons.

 Qur’anic stories are mentioned in various places and styles. This dispersion and the variety of the narration styles of the discourse of the ayahs might evoke in the mind of the audience the doubt about the existence of conflict in the Qur’anic text. However, using some contextual evidence, it is possible to respond to the doubts raised concerning the historicality of the Qur’an and its being a literary and rhetorical text and to attempt at rejecting the claim. The hadiths attributed to the Infallibles are considered to be detached contextual evidence that play an effective role in explicating the divine ayahs. However, considering the possibility of the creeping of Isra'iliyyat into the sources of hadiths, the referral to hadiths has become problematic, setting the grounds for the assumption that Qur’anic historical stories are merely literary and rhetorical. On the other hand, as one can observe various instances of commonalties between Qur’anic stories and historical narratives, given that sometimes the missing links of stories are found in history, the use of historical data in the interpretation of the stories of the Qur’an appears to be helpful and to greatly aid in responding to doubts by those who consider a literary approach and text analysis the only way to understanding the Qur’an. The present descriptive-analytical study thus, through reflection on the ideas of Muslim thinkers, especially Ayatullah Javadi Amoli, addresses the key question that "how the function of hadiths and historical narratives in the criticism of the modern literary reading of the Qur'anic stories can be validated".

Intertextuality, which deals with the relationship and the interaction between texts, is one of the newest theories in new criticism, According to this theory, texts and their producers are influenced by each other and they consciously or unconsciously use the literary and intellectual origins of each other. It has long been common among Persian poets and writers to use Qur’anic concepts and teachings to add credibility and richness to their work. The literary and rhetorical aspects of the Qur’an along with the Qur’anic ethical concepts and teachings, have created the attraction of such attention. Tarabol Majales is one of the works of Persian prose belonging to the eighth century, which is one of the most considerable periods due to the influence of the Qur’an and hadith as well as Arabic literature on Persian literature. Using Qur’anic ayahs and hadith, the author of the book, Mirhossein Heravi, has been able to write his book containing ethical and informative points. Throughout the book, one can see his familiarity and fondness of the Qur’an, religious and mystical teachings. The present descriptive-analytical paper aims to analyze this feature by using Gérard Genette's method of analyzing intertextuality. The results show that there are two types of explicit and implicit intertextuality in Tarabol Majales and Heravi has employed explicit intertextuality more frequently and in the form of adapting from Qur’anic ayahs in various forms and for different reasons.

Most exegetes implicitly or explicitly believe in two occurrences of the Blowing the Trumpet (indicating the death and then the coming to life of all beings) at the end of the world. There is another group of exegetes, however, who maintain that the Qur’anic ayahs speak of three blows and there are also few exegetes who believe in the occurrence of four blows. There is thus controversy about the order of the events occurring on the threshold of Qiyama (resurrection). The present descriptive-analytical study aims to analyze the textual context of the ayahs of Blowing the Trumpet and demonstrate a clear picture of the number of blows and their consequent events so that it would eventually answer the question that which viewpoint of the exegetes conforms to the textual analysis of the related ayahs. Through analyzing the lexical semantics of the words faza’ and sa’qah, this study carried out an extensive exploration of 212 commentaries and analyses of the exegetes on the number of the blows as well as the precedence and posteriority of mashahed al-sa'ah. In addition, the analysis of the literary functions of some of the conjunctions used in these ayahs such as ”Fa” and "Thomma” and considering the elements of register, lexical and semantic attached and detached contextual clues, and an aesthetic analysis based on lexical cohesion showed that the Holy Qur’an mentions the occurrence of three blows of faza’ (terror), sa’qah (swoon) and ihya' (revivification) on the threshold of Qiyama, and the events called mashahed al-sa'ah shall occur after the first blow.