جستجوی مقالات مرتبط با کلیدواژه « Quran » در نشریات گروه « ادبیات و زبان ها »

Juzef Alhashem is one of well-known poets and politicians of Lebanon in our contemporary time who has used the art of poem as the hole to express his faithful, religious reflections. This intellectual, liberal poet has connected Ahl Beyt’s friendship and praising with Quran narration and instruction, he is a Shieh, Muslim, chivalrous poet. His main findings of study show that poet has used Quran, Hadis Sharif in two ways, indirectly and directly. The poet’s goal is to choose such approaches, not to ornament his poem, to make a list of some of Quran verse, Islamic hadis, instead his main ideal is to show facts, documental, textual truth of Shieh, to recite the tools and the fields of historical events in the apex of Islam, in order to call today’s audience’s knowledge, lesson, understanding, resistance, Jahad against occupying regime of Quds to follow Ahl Beyt(God blesses them).

Shams al-Din bin Mohammad Nizari Qahestani is considered one of poets of the 8th century, the present research has introduced a short introduction of his life and works, then introduces the lyrical poem Azhar and Mezhar and seeks to reach the moral and Quranic points hidden in this. The poem is romantic. By re-examining this poem, he finds poetic evidence based on Quranic and moral concepts, and by extracting verses, he has categorized it, and in the frequency chart of each of the educational moral concepts, he has identified the Quranic concepts in this poem. Like the discredit of the world, away from pride and forgiveness, patience and effort and away from violence, secrecy, etc.Most of his moral-educational teachings have a religious and its aspect are considered part of the ethics of servitude . He has spoken about social ethics, and in this lyrical system, he has been able to include valuable moral points from the Quran in the form of a story and remain eternal in his poetic mission.Key words: Quran, moral teachings, education, wealth, religion

Semiotics aims to uncover the conventions that give rise to meaning and assigns each word as a sign based on the concepts of the signifier and the signified, as well as signification. This research examines the word "Alast" ("Am I not your Lord?" Quran:7/172) in Masnavi Manavi using an analytical-descriptive method and relies on layered semiotics. As an abstract sign, the word carries various meanings. Jalāl-al Din Rumi, like other Quranic words, has undergone semantic evolution and has created innovative interpretations within its context. Whenever he refers to the word, he establishes specific semantic links with a particular concept. This article investigates these specific semantic connections. The research results indicate that Rumi has employed this word in semantic fields with a unique artistic function. By mastering the mystical, philosophical, historical, and psychological content, and most importantly, the Quran and Hadiths, Rumi has effectively expressed profound content through this word. His intention was not merely to use the word as rhetoric.

A group of Quranic commentators have claimed that the reason for the revelation of Surah Hajj, verse 52 (the "verse of the Prophet's Desire") was an incident in which Satan whispered words affirming the position of intercession of the idols worshipped by the polytheists, while the Prophet Muhammad (peace be upon him) was reciting the Quran. Upon discovering the source of these words, the Prophet became saddened and distressed. Subsequently, this verse was revealed, providing solace to the Prophet and informing him that Satan had also made insinuations to previous prophets, but Allah dispels these satanic insinuations and establishes His verses. This study aims to investigate the validity of the claim that Surah Hajj, verse 52 is connected to the aforementioned story. In this regard, an analysis of the textual context of the Surah reveals that the proposed connection is untenable. This is because there is a continuous context from verse 42 to 57, and verse 52 can only be understood within this context. According to the context, the Meccan polytheists were demanding the swift arrival of divine punishment and considered its delayed arrival as evidence of the ineffectiveness of Muhammad's prophethood. The Quran's response to them is that previous prophets also expressed a desire for the manifestation of God's fearsome signs, and in response to these desires, the devils cast doubts. However, punishment eventually came, and God's instructive signs were fulfilled, and the devils' doubts were dispelled.

In the holy Quran, several words have been used for the meaning of perception and knowledge; the verb "šaʕara" as one of them in Persian translations more often is equated with words ‘know’ and ‘understand’; but its more detailed components is the issue of this essay that is devoted to two sections of etymological and contextual study. Etymology based on the methods of historical linguistics and sources of Semitic languages, a comprehensive contextual study of all applications alongside each other, content analysis of verses and use of the anthropological achievements in discourse analysis of Quranic verses are the methods used in this article. Etymological evidences suggest that this word dates back to the ancient Semitic language and is made up of the hypothetical root of the "šʕr" (to divide, break open) in the same language and this root is also derived from the Afro-Asian root (ĉaʕ), meaning "cut" but in the Pre-Islamic Arabic discourse it is influenced by the word šiʕr (poetry) by semantic contamination. Negative application, no application in descriptive phrases, devotion to the perception of hidden affairs are the functional features of the term šaʕara that make the definition of the Qur'anic meaning of šaʕara as a " no-process perception" justifiable. No-process perception entails an increase in the role of imagination and reducing the role of time-consuming rational processes.

Bijan Elahi is one of the "other poetry" poets who in the 40's turned to a type of white poetry in which mystical concepts and influence from the verses of the Qur'an are abundantly seen. If mystical symbols, metaphors and images in general are not interpreted in his poems, a huge and important part of the content in divine poems will be neglected. Of course, sometimes the Divine Vision refers to the verses of the Qur'an directly and only through the lexical level of words, and sometimes the divine references to the verses of the Qur'an depend on the interpretation of the images and the relationship between the components in the axis of coexistence and succession. In this book, the authors intend to analyze all the influences and also the divine attitude towards the verses of the Qur'an in the order of his poems in the two collections of poems "Youths" and "Seeing" in a descriptive-analytical way, as well as the process of the formation of meaning to The means of using Quran by Bijan Elahi is also of interest to the authors in this research. From the results of this research, it can be pointed out that in the poetry collection "Seeing" the lover is often real, and in the poetry collection "Youths" the lover is virtual and the type of love is often carnal.

This study examines the semantic evolution of some Qur'anic words and reveals the influence of Islam in the semantic development of words compared to the ignorance period. This research begins by examining the usage of the words during the ignorance period, then examines its meanings in the Holy Quran in order to achieve the semantic expressions of these words. The purpose of this study is to know the words’ meanings used in the ignorance period. Then Islam has added the second and third meaning to them or fundamentally changed the meaning of the words. Therefore, the common usages of the words were left out. Contrary to our imagination, when we follow the verses reached to us from the ignorance period, we come across the words whose meanings don’t correspond to this period, so it is necessary to be considered. Muslims wanted the Quranic culture to prevail, so they edited some verses that had a religious theme and attributed them to Jahili poets. Some intellectuals may disagree with this point of view and do not accept them, so it is safe to accept that Jahili poets also used these words as it was used during the ignorance period. In this research, the semantic evolution of the words nīkī, khayr, and jihad is investigated.

the "prayer" have been used 182 times in the verses of the Holy Quran. This study intends to explain the concept of prayer and extract its semantic components from the Quran with a semantic approach. Therefore, the purpose of this study is to understand the root meaning of (prayer) in the Qur'an. After reviewing the verses including the root of the prayer and its derivatives, the prayer companions are further divided into three categories. Interfaith Companions: Coming, Hearing, Accepting, Believing, Guiding, Putting, Surrender, Conflicting Companions: Shirk, Disbelief, Misguidance and Loss and Complementary Companions: Allah, the Rabbit, the Apostle and the Human. By examining the companion vocabulary of prayer, the root substitutes for prayer and its derivatives are as follows: speech , Security, Science, Guidance , Compliance, Come , Disbelief and Providence . Finally, in order to reach the semantic components of the word prayer, we will examine the vocabulary companions of the word prayer and the companions of the word prayer, and the semantic components will be: speech, faith, science, guidance, coming, disbelief, grace, Wanting, hearing, sinking, adherence, truthfulness, Wisdom , scripture and endurance.

To do a proper translation, the meaning of the words that are the components of the sentence must be carefully explored. Therefore, it is necessary for the translator to use the knowledge of semantics to obtain the meaning of words. One of the semantic methods is dedicated to Izutsu theory, which is used in the field of Quranic vocabulary. In order to extract the meaning of words, Izutsu deals with the meaning of the word in pre-Islamic poetry and, with a semantic look, turns to textual definition, word substitution, contrasting words, semantic field, negative form of words, synonymy of expressions and usage in nonreligious context. This research, with the method of descriptive analysis, semantically examines the word " Doubt" using the first 4 methods of Izutsu. Through this research, it became clear that the word "rib" was used in preIslamic poetry, along with sequences such as "menun", "events", "time" and "eternity" meaning hard events, death, unpleasant events, and so on. But in the Qur'an, the phrase "Rib al-Munoon" appears only once. In religious and doctrinal concepts, the word rib has uses in the Qur'an, the true meaning of which is doubt through enmity and hatred. Therefore, in order to fully transfer the semantic units to the target language, a "descriptive" sequence has been proposed for it.

One of the rhetorical aspects of the Holy Quran is the special phonic and musical components in the Language's Form of Quran that with its distinctive features, it has created a special musical rhetoric within The language's context of the Quran. This rhetoric is not only related to auditory aspects but also has a close connection with the generation and transmission of meaning in the verses of the Holy Quran. So that it has given a specific form to the language of Quran in such a way that it cannot be classified as a poetic words or fall under the common elements of prose. The musical aspects within the context of Quran's language have been a longstanding subject of interest among rhetoricians as a rhetorical model. Among these, in the Arabic verses of Saadi's poetry, a significant manifestation of the influence of the rhetorical and musical components of the Quranic language can be observed. The influence of the musical rhetoric of the Quran on Saadi's literary creations has not received much attention in the studies of Saadi's works. In this article, in order to explain the musical impact of the Holy Qur'an in Saadi's poem, we examine the different aspects of the rhythmic and musical impact of the verses of the Qur'an on Saadi's Arabic poems. The results of the article show Saadi's various techniques in using different aspects of the musical rhetoric of the Quranic verses in his poems, as he has used the musical capacities of the Quranic verses in different positions of the inner, side and external rhythm of his poems. These methods, in addition to revealing Saadi's insights into the subtle layers of the musical rhetoric of the Qur'anic language, show his remarkable genius in the artistic use of the musical rhetoric of the Qur'an in different rhythmic levels of his poems, without One of the rhetorical aspects of the Holy Quran is the special phonic and musical components in the Language's Form of Quran that with its distinctive features, it has created a special musical rhetoric within The language's context of the Quran. This rhetoric is not only related to auditory aspects but also has a close connection with the generation and transmission of meaning in the verses of the Holy Quran. So that it has given a specific form to the language of Quran in such a way that it cannot be classified as a poetic words or fall under the common elements of prose. The musical aspects within the context of Quran's language have been a longstanding subject of interest among rhetoricians as a rhetorical model. Among these, in the Arabic verses of Saadi's poetry, a significant manifestation of the influence of the rhetorical and musical components of the Quranic language can be observed. The influence of the musical rhetoric of the Quran on Saadi's literary creations has not received much attention in the studies of Saadi's works. In this article, in order to explain the musical impact of the Holy Qur'an in Saadi's poem, we examine the different aspects of the rhythmic and musical impact of the verses of the Qur'an on Saadi's Arabic poems. The results of the article show Saadi's various techniques in using different aspects of the musical rhetoric of the Quranic verses in his poems, as he has used the musical capacities of the Quranic verses in different positions of the inner, side and external rhythm of his poems. These methods, in addition to revealing Saadi's insights into the subtle layers of the musical rhetoric of the Qur'anic language, show his remarkable genius in the artistic use of the musical rhetoric of the Qur'an in different rhythmic levels of his poems, without having followed the path of artificiality in this work. followed the path of artificiality in this work.

There is consistency between science and the Qur’an as long as we found it throughout the ages, and through this agreement between them, the Qur’an proves its miraculousness to all mankind, and its miraculous aspects are scientific and linguistic, and this is evident in the sounds mentioned in the Qur’an, and as science has shown us that sounds have energies and waves And vibrations that cause trembling, and they also have a power that the Qur’an did not ignore, and it mentioned in many places precise divisions that draw attention to them, we seek in this article to apply between science and language and to study the scientific topics that Dr. His book “The Qur’an is Knowledge and Explanation” and its application with the language according to the opinions of linguists about these names, and we tried to make an explanation about the sound in general, and the sound in humans and their speech and hearing apparatus, because the intensity of sounds in humans is linked by auditory consistency and how these sounds pass through Through it. The Noble Qur’an has mentioned vocabulary such as focus, whispering, imploring, shouting, shiver, and shrieking, and each of them has its own energy, ability, and level.

The debate on the word “Allah” etymology is pervasive. Because of its interrelations with various disciplines such as history, archeology, Semitic languages, and theology, the detailed analysis of the topic demands mastery of all these sciences. The word’s slightly different pronunciation from the corresponding term referring to Almighty God in the scriptures of pre-Islamic Abrahamic religions has sometimes incited religious disputes leading some to cast doubts on the name’s identical referent. This article demonstrates that the origin of the word “Allah” is the Syriac word “Alaha,” meaning “God,” and while studying linguistic changes of this word over time also proves it to be cognate with the Hebrew words “oluh,” and “Alvah” in Torah. Furthermore, this paper shows that in pre-Islamic centuries, Arabic-speaking Jews and Christians used the same word, “Allah,” to refer to the concept of the Supreme God.

In discourse analysis discipline, the analysis of research articles genre in recent decades has attracted special attention. In the meantime, studying the introduction of a research article, which serves as a roadmap and preview for understanding the next sections of the article, as well as a very important criterion for evaluating the whole article, has enjoyed the most genre-based analysis in most academic and specialized disciplines. However, the field of Quran and Hadith sciences is one of the genres that there is no study upon the introduction of its research articles within the genre-based discourse analysis. Therefore, the present article, using a descriptive-analytical method based on the Swales' model (2004) deals with the rhetorical structured and communicative moves in the introduction of 80 research articles published during the year from 1395 to 1399 in prestigious research journals in the field of Quran and Hadith sciences. In fact, this study, within genre analysis focusing on the genre moves of the article introductions has got two main functions: first, how the authors of research articles in the field of the Quran and Hadith sciences introduce their work in the introduction and to what extent do they follow the criteria for writing a good introduction based on a theoretical research model? And the second goal is to what extent in this particular genre, we will see variation in journals of a single field. The results of the present study, which can be both useful for improving the quality of the authors' research article introductions and for evaluating this particular genre by research journals reviewers, indicate that some authors of this genre are not sufficiently aware of the genre structure and rhetorical communicative moves is the article introductions, which has led to a complete lack of compliance with the theoretical model of the research.

The Holy Quran is a miracle that appeared in the form of words and was finally revealed with eloquence and eloquence. For this reason, many creators of poetry and prose works in Persian literature have used it in different ways in creating their works. The manifestation of the eloquent words of the Qur'an in Hafez's sonnets is also impressive. In this research, it has been tried to investigate the various methods and techniques of Hafez's effectiveness in sonnets from the verses of the Word of Revelation.

The study method in the current research is documentary-analytical. This research deals with the methodology of the effectiveness of Hafez's sonnets from the Holy Qur'an and by dividing the methods of use and presenting examples of verses from the Holy Qur'an and verses from Hafez's sonnets, it has consolidated its hypothesis.

The presence of Quranic words, verses, interpretations, themes and styles in Hafez's sonnets shows his deep and comprehensive familiarity with the Holy Quran, Quranic sciences and topics - such as strong and similar, abrogated and abrogated, and jurisprudence of the verses - along with familiarity with interpretations. This is a heavenly book. Studies show that Hafez not only understood the meanings of the verses, but also knew about the relationship between the verses.

The most important and main areas of influence and modeling of Hafez's ghazal from the Holy Quran are included in these cases: influence of the measured connection of words and meaning in the Quran; Effectiveness of the pattern of verbal and semantic harmony of the Quran; Using Quranic compounds and words to create imaginary images; Effectiveness of the pattern of minimal pairs in the Qur'an; Effectiveness in the knowledge of Ghazals from Quranic techniques; Effectiveness of the Quranic declaration; getting inspiration from Quranic ideas; Effectiveness of the phonetic-semantic method of the Qur'an; Inferring a taste from the verses of the Qur'an; and helping to complete the rhymes of the poem.