فصلنامه پژوهش های ادبی - قرآنی
سال سوم شماره 2 (پیاپی 10، تابستان 1394)

“Intertextuality” is a theory concerning the relationships between texts that lead to the creation of new texts. Every single text، therefore، can be regarded as an intertextual that has its roots in previous texts while influencing future texts. This theory was first introduced by Julia Kristeva in 1966. The presence of Qur''anic verses and the eloquent words of the Holy Prophet (Peace and Blessings of Allâh be Upon Him) and Imam Ali (Peace be Upon Him) in the poetry of “Mahyar Deilami”، a prominent Arab poet، first of all، demonstrates the influence of Qur''anic concepts and the words of those great humans on him. This inspired us to conduct the present study on the intertextual relationships between Mahyar Deilami''s poetry on the one hand and Qur''anic ayahs as well as the Holy Prophet''s and the twelve Imams'' ahadith، on the other. To this end‚ parts of Mahyar Deihami''s poetry were analyzed. The findings indicated that the ayahs‚ proportionate to their themes، were intentionally influenced by the Qur''anic ayahs and the invaluable hadith of the Holy Prophet. The intertextual analysis also revealed that most frequent instances of Qur''anic and narrative intertextuality were partial negation (ijtirar) and symmetric negation (imtisas).

Any language constitute a set of dynamic words that are being constantly reborn hence find expansion of meaning. In semantic studies of linguistics, polysemy is one of the most important issues to be considered at all language levels including lexis, i.e. paradigmatic polysemy. Linguistic approaches to lexicon always accompany word's senses influenced by collocates in a structural system, the semantic analysis of which is carried out with regard to the mutual relationships between the elements in the given system and the discourse process. Considering the linguistic context and the totality of the text following an etymological analysis of a word, and its semantic field, clearly depicts the development of the word and thus its polysemy. A main part of Quranic studies and research is discovering and elucidating the exact meaning of words in the structure of the Divine Word so that the perception of religious propositions may be facilitated. In this paper, the polysemy of the Quranic word "rahmat" is studied to illuminate its semantic development in the Quranic ayahs and its multiple semantic aspects in relation to the core meaning as well as the effect of collocates using Quranic commentaries. The word "rahmat" enjoys several semantic aspects like Islam, the Paradise, Faith, Rain, Subsistence, etc., all of which are processed in respect to the core meaning and conceptual relations with other linguistic units within the discourse structure.

One of the effective procedures that Muslim and non-Muslim littérateurs have adopted to speak eloquently and with lasting impacts is the use of words and concepts from the Holy Quran as part of stylistic structures of their valuable works, leading to the perpetuation of them. This article reviews al-Basti's poetic intentions and how this famous poet, who lived in the fourth century AH in Qaznavids, was inspired and influenced by the Holy Quran. To this end, an analytical library research method has been implemented to study different types of Quranic influences on his poetry. Results show that al-Basti has been influenced formally and semantically by the Holy Quran and the influencing verses can be categorized into five topics: wisdom, sonnet, satire and blame, honor, and praise. Among these, wisdom has had the greatest influence on the poetry of al-Basti. This indicates one of the signs of the miracle-specific effects of the Holy Quran on all wakes of Muslim's life in all Islamic ages since the beginning of Islam.

In recent approaches to language, the essential aim of language studies is to describe communication via communicative events at different levels of language including text. The Quranic language has been studied from different perspectives and at some language levels. Yet, the study of Quranic text organization within recent linguistics theories has been ignored. This paper attempts to investigate the narrative organization of the story of the Prophet Musa (PBUH) in Surah Al-Araf based on Hoey's (2001) problem-solution pattern. Three main problems as the elements of this story are Pharaoh's tyranny and infidelity, Musa's reaching certainty from the heart, the disobedience and idolatry of Bani Israil. In this narrative, different responses are proposed to the first problem by the Almighty Allah and the Prophet Musa, some of which are positively evaluated though have negative results. The final plan to resolve the problem, after a rather long cycle, is to kill Pharaoh and his followers, which is performed successfully. The result of this plan is positive and can be supposed as the solution. The second problem, which does not experience a long cycle, is successfully resolved only by two responses. However, in resolving the third problem, unsuccessful responses are proposed, which are negatively evaluated and end in some positive and some negative results. This problem is followed by other problems, some of which remain unresolved or as the consequences of the character's deeds. The results show that although Hoey's (2001) problem-solution pattern can predict the text organization, but in some stories like religious narratives the problem is not definitely resolved.

In the history of Persian literature, the sixth century is the brilliant period of intellectual and cultural developments when such an opportunity for new poetic approaches came up that merits recalls and scientific attention and research utilization in every era of Persian poetry and history of literature. A poet with a large contribution to the sixth century's literary evolution, Sanai Ghaznavi bounds artistic and linguistic uses of the poetry preceding him to revolutionizing thoughts and themes. He had the opportunity to review most of Khorosani style poetry preceding him and to finally go through this test of influence, innovating a totally new approach and idiosyncratic style. The present article studies the famous ode by Farrukhi Sistani entitled "Abr" (Thunder-Cloud[1]), which has attracted much attention from poets. Sanai, on the basis of his deep religious and intellectual beliefs, founded on the sixth century's sociopolitical developments, has taken a Quranic approach and has freed himself from the anxiety of influence of Farrukhi's poetry as posited in Harold Bloom's creative misreading. Thus, he has artistically expressed his main ideas in a new form of ode, without being influenced by Farrukhi's poetry.

Imagery is a device applied in the Holy Quran. Without imagery, solely addressing people's minds and intellect, could make the Divine Word not so impressive. It is through images that the Quran possesses the entire human soul. The present study, using a descriptive-analytical method, attempts at analyzing artistic imagery in the holy surah Al-Araf and unveiling aesthetic aspects of the Quranic expressions in this surah. The results showed that the similes in this surah aim at describing the feelings and manners of the pagans and the challengers of the Noble Quran. Metaphor has been used with intentions like domination and mockery and metonymy has beautified and publicized ayahs in this surah. Generally speaking, imagery in this surah has been applied to stabilize intended concepts in the addressee's minds.

Allegory is a method for illustrating and dramatizing a topic, which persuades the audience to spontaneous imagination and thinking. We should seek the function of using allegory in the Quran in the deep effects of its teachings that make the readers grasp it regardless of their levels of understanding and perception and use it in regulating their plan of life. In this paper, the researcher aims to analyze aesthetic aspects of allegory in literary language of the Quran by using analytical – descriptive research method and by referring to Quranic ayahs. The study shows that the Quran, which is the language of guidance, faith and moving inspiration, has benefited very much from language devices such as allegory for inviting to reflection, influence and learning lessons; and eventually for human edification.

This article is an attempt to provide an analysis of Sadi's Arabic odes and a description of the language structure in the Quranic images in those odes. Due to the exalted status of Sadi in both Iranian and world literatures, elucidating the main features of his illustrative language to prove his mastery of the Quranic language and Arabic poetry deems necessary. Because no previous has taken a language and images approach to Sadi's poetry on the basis of the influence of the Quran on him, the present study tries to provide answers to the following questions: First, what are the impact and position of the Quranic ayahs in Sadi's Arabic odes? Second, what are the portions of image and non-image couplets in his poetry? Third, what are the characteristics of figures of speech in his Quranic couplets? And fourth, what is the central focus of image in those couplets? Additionally, explaining how, in Sadi's image perspective, Quranic words contrast, interact, connect and collocate is another approach adopted in this study.