امین عظیمی

Undoubtedly, Imām Khumaynī (RA) has been a pioneer in using the Custom of Rational Persons (Sīrat al-ʻUqalā) as one of the main elements of developing jurisprudence. However, the research conducted on his uṣūlī views on this issue has various interpretations of which the purpose of this study is to criticize and analyze the presented interpretations and analyzes especially in the published works of the Institute for Editing and Publishing the Works of Imām Khumaynī (RA) in two pillars, the type of authenticity and the scope of authenticity. Researching this issue is aimed at providing a new explanation from Imām Khumaynī’s point of view about the two areas mentioned in the Custom of Rational Persons, which is free from any hypertextual and selective interpretation and carried out with library search tools. Unlike other studies, each of which has chosen inherent authenticity or endorsed authenticity, the research of this study which is done by descriptive-analytical method shows that, firstly, in the issue of authentication, rational indications (ʻimārāt ʻuqalāī) have inherent authenticity and non-realistic attitudes (sīrah) need endorsed authenticity (ḥujjīyat al-imḍāī). Secondly, the authenticity of the newly-emerged attitudes also has special conditions in his view, which are rarely fulfilled, and the absolute attribution of their authenticity to Imām Khumaynī (RA) is wrong.

The imposition of Iraq's invasion and the unified protection of people from their land and their beliefs are the complex multifaceted crises in contemporary Iranian history. One of the foundations that reflect the evolution of the discursive formations of this historical practice is dramatic texts. In this research, based on the critical discourse analysis of Fairclugh, the main characters of the "Attending Time" (Hossein Jafari), "Drop of Voice of the Sea" (Mohammad Mehdi Rasooli), "Komayl Channel" (Seyyed Hossein Fadaei Hussein) And "31/6/77" (Alireza Naderi), written between 1981 and 2006, aimed at achieving the fundamental components of discourse and how they interact with the critical conditions of war. These plays have been selected base on a selective targeting method from works published at various levels of warfare performed by professional groups and honored at national festivals.The findings of this study revealed three key discourses in terms of representing warriors and the crisis of war: war and revolutionary / Islamic ideology, sacred defense, and ultimately post-antiwar. In the context of the first discourse, the self-prescriptive image of the warriors in the explanation of the ideology of the Islamic Revolution, the history of Shi'ism, and the defense of the land comes with the ruling discourse. In the second stage and after the continuation and expansion of the cultural sphere of war, this approach has become a form of epistemological and divine self-expression, and the mystical aspects of it become more intense in the framework of the will of the power institution. But after the end of the war and the advent of widespread social changes, there is a critical look at hiding the values of the sacred defense discourse and confronting confiscation and exploitation, and ultimately brings about an anti-war approach and a questioner through The entropy of the ruling discourse offers an alternative relationship to the underlying background of the war event.