فصلنامه پژوهش های ادبی - قرآنی
سال چهارم شماره 1 (پیاپی 13، بهار 1395)

As the most influential Salafi scholar, Ibn Taymiyyah holds particular views with regard to Quranic exegesis. Extensive publications have been published about the foundations of his views. Yet, no research has been carried out about his literary foundations in exegesis. In the present study, the most important literary foundations of Ibn Taymiyyah in Quranic exegesis were explicated and critiqued to show that 'denial of trope' is the most important basis in the exegetic view of Ibn Taymiyyah. The reasons why Ibn Taymiyyah denies trope are: no mention of trope in the words of the companions and followers and salafi ulema, the lack of a comprehensive definition of trope, the denial of the creation of words and the claim for the banning nature of the language, the absence of proper signs for the recognition of truth versus trope and finally the denial of trope usages. Additionally, other exegetic foundations of Ibn Taymmiyah addressed in this study are: non-emphasizable feature of trope, the necessity of conflicts for references, the denial of eternal negation for “Lan” (literally 'will not'), not using letters instead of each other and the alteration of idioms and proverbs.

satire is one of the prominent and tangible subjects in Rubaiyat (quatrains) of Baba Afzal al-Din Kashani. Using a soft and delightful tone and avoiding arrogance and quibble, he created eloquent satires enfolded in his mellifluous poems.
In his satires, Baba Afzal used many figures of speech, especially wordplay, paradox, repetition, and pun. In creating satires, he used proverbs and has composed poems some of which has turned into commonly used proverbs in peoples’ everyday speech.
He benefited from the teachings of the Holy Quran in most of his satires, and conveyed valuable Quranic messages in the form of various satires. The Rubaiyat of Baba Afzal can mainly be considered as a free and ironic translation of the Quran aligned with divine commandments.
In the present study, Baba Afzal's satires are divided into six group: 1. literary satires; 2. social satires; 3. historical satires; 4. wisdom satires; 5. religious and mystical satires; 6. philosophical satires.
What Baba Afzal is mostly concerned about which set the grounds for his engaging satires are religious and mystical concepts. After that, the social satires have a high frequency.
Baba Afzal directed his criticism towards two groups of people: 1. pretentious impure Sufis and the self-seeker pious-looking men; 2. the perplexed and the lost on the way to knowing Allah.

Stylistics as one method for the analysis of literary texts is nowadays mostly based on "deviation". This theory, sometimes referred to as "diversion from norms" or "deviation from standard language", is one of the main findings of the Russian formalists and its emphasis is on differentiation of literary works from normal language. Deviation from syntax or grammatical forms is one type of this deviation represented in the form of movements of different parts of the sentence and manipulating them. The Holy Quran which is the most perfect example of speech and is at the peak of rhetoric and eloquence displays various aspects of aesthetic features. Against this background, the present study tried to reveal the hidden beauties of this wonderful, literally miraculous book as much as possible by answering the following questions: Which one of the methods of syntactic deviation is used more frequently in the Holy Quran? What purposes do these aesthetic and semantic features pursue? What is the impact of such a process on promoting the language of the text? To this end, the descriptive-analytical method was adopted to study the syntactic deviations in Sura "Al-Kahf" as a drop in the ocean of infinite divine speech. The findings of this study shows that the purposeful progress and delay of elements of a sentence aiming at dedication; deletion, to engage the reader's mind, and to stimulate his imagination and emotions; addition, which adds to the meaning and emphasis of the message; and different types of attention in pronouns, which results in a stylistic change in monotonous texts and persuades the reader to follow them, to think and try to find the mysteries of texts were the most frequent examples of syntactic deviations in this holy sura, highlighting its text and consequently inspiring special meanings in the audience.

Stylistics is a modern method that differentiates texts based on lexical and literary forms and investigates them based on the verbal construction to discover literary and aesthetics aspects in a given text. The Surah al Yāsin is a surah whose recitation has been highly recommended by Prophets and Imams for having innumerable benefits. As this surah's content is founded on three principles of monotheism (Tawhid), prophecy (Risalat), and resurrection (Maad), special lexical and literary forms are used to transfer these concepts. The present study, using a descriptive-analytical method, aimed at an analysis of phonological, syntactic and semantic levels, on the basis of stylistics and structuralist theories in order to find literary and aesthetic aspects of this surah and the relationship between the three levels with the general structure of the text. One of the most important results at the phonological level was the observance of space in ayahs, the application of the extension (āl-mad) phonemes of ā, ī, ū and two letters of Mīm and Nūn that make the surah rhythmic besides highlighting its content. At the syntactic level, informative style is used to remind realties like the rightfulness of Prophet Muhammad's first revelation and resurrection. In the interrogative style, hamza “¸” is used more frequently which intends confession and the reprimand of the infidel. In addition, at the semantic level, antonymy and synonymy have special purposes that are pointed out in the article's full text.

Cohesion and coordination among the components of a text is one of the best features of a literary-artistic work. Following Functionalist linguist's studies, cohesion witnessed a swift boom, entering critique-related discussions. And cohesion became one of the most frequent terms in the history of modern criticism. Such studied also covered the analyses of Quranic and religious works. The story of Prophet Musa is one of the most beautiful Quranic stories, which enjoys such distinguished technical as well as artistic and stylistic features that it is utterly matchless when compared with man's speech. The present study aimed at proving the artistic cohesion of ayahs 3-43 in Surah Al-Qasas, which are related to the story of Prophet Musa, based on Michael Halliday's cohesion theory and Ruqaiya Hasan's complementary coordination theory. The results indicated that grammatical, lexical and linking cohesive factors together with other cohesive coordination features such as chains and interactions between chains created cohesion among the story elements. Thus, it is realized that there is a systematic relationship between the elements of a well-composed story which is a way to understanding the Quranic miracle.

in the present study, we analyzed the influence of Quranic themes on children's poetry of Jafar Ebrahimi. To this end, and through explicating the Quranic themes manifested in his poetry and studying their functions, we tried to answer the following two questions: Why to apply Quranic themes in children's poetry? Which themes are most widely used? It can be said that Quranic themes form part of the contents of Ebrahimi’s children's poetry used to induce Islamic teachings, to introduce Islamic key figures and to prepare children to perform religious duties. Inspired by the Holy Quran, Ebrahimi tries to familiarize children with religion and religious thoughts and since they are still beyond the stage of mental evolution and unable to understand abstract concepts and do moral judgments, Ebrahimi has used Quranic themes tailored to children’s intellectual development and proportionate to their taste and understanding. Ebrahimi focuses on theology more than other subjects and tries to describe positive divine attributes using the allegory of the nature. This research was carried out studying 15 collections of Jafar Ebrahimi's poetry using an analytical – descriptive method and statistical tables.

The issue of the possibility or the impossibility of seeing God discussed in Ilm al-Kalām has caused many controversies in the literary interpretation of different Quranic ayahs. One of these controversies is the accompaniment of the word "Nazara" with the preposition "Ila" which in the view of Asharist scholars means seeing while in Mutazila scholar's perspective this combination does not mean vision but the turning of the human eyes toward a seeable object. These two groups have tried to prove their own literary theory by citing examples form Quranic ayahs, Arabic poems and everyday conversations. In the present article, it is proved that, Asharist view is correct because in the Arabic literature and consequently in the eloquent language of the Quran, the verb Nazara" with the preposition "Ila" means seeing and turning one's eyes is a requirement for seeing. Therefore, Mutazila scholars have confused the verbal meaning of the verb with its external requirement, hence their claim is a paralogism.