جستجوی مقالات مرتبط با کلیدواژه « narration » در نشریات گروه « ادیان و عرفان »

The Quran, as a revelatory and enlightening text, has always claimed that by resorting to various theological methods, it informs believers about the twists and turns of life and guides them toward goodness. Meanwhile, storytelling has been one of the path-breaking tools for conveying meaning to the audience. Suppose this part of the Quranic verses is paid attention to and a literary and narratological reflection is made. In that case, it will definitely confront the audience with layers of meaning whose subtleties were previously hidden from the eyes. Using the descriptive-analytical method and library sources, this article intends to conduct a case study about the story of Moses and Khidr by reflecting on the narratological approach and drawing a model of the elements of a coherent narration. It also tries to discover what level of meaning such a perspective leads us to

Undoubtedly the every work of art that it wants to take title of Islamic concept, it should be compatible with jurisprudence and ethic and it should keep framework of jurisprudence and ethic. The important subject in this problem is question about relationship between performance art and religious issues such as Imam Mahdi (pbuh) and other religious subjects. How can we adhere to theological concept such as jurisprudence and  morality. How and under which circumstances the one dramatic work miss its legitimacy and capacity for Islamic ability. Actually when one dramatic film lose its acceptable situation in production, performance capability and seeing of spectators. The focal point in the performance is narration and especial story that it well be seen by spectators and naturally when we product one Islamic film, we must use from Islamic teachings and religious ideas. However if our story in performance have content against Islamic believes, surly it will miss its Islamic topic and we will say it is not a Islamic work of art. Hence there are one question. What is important subject in production of Islamic drama. Is it form of production in work of art or content of it? If the important point in performance art well be performing of ritual practice and preserving  of jurisprudence, we would notice to exoteric aspect of work of art but if it is important preserving of story  and content in the performance, hence we should try to protecting of narration and we attempt to arrive Islamic teaching in the film. In this article we want to consider and present two model in production of performance works and want to determine situation of jurisprudence in production of works of arts. Fist pattern is minimum model. In this pattern the best subject is our notice to preserving of ethical and theological concepts in performance works. Second pattern is maximum model. In this type The climax of our struggle is securing of films from every action against of ritual practice.

Love is the most important mystical issue that other mystics have talked about it and mentioned its importance before Qazali. However, Qazali is the first mystic who has written a unique paper on mystical love. In his paper, Qazali talks about love in a way that at the very beginning we realize that we are dealing with a centralized text and whatever he has talked about is in a way in connection with love. Therefore, we, too, with this in mind have written about love after a short introduction just like an emotion that has influenced not only human beings but also the whole universe and whatever existing in the universe is rotating around it and gains its power from. Then, we have pointed out to the beloved that whatever or whoever it is summons the lover toward itself, and finally we have indicated the love that is the source of the realization of love and its features from Qazali’s point of view. The entire information of this paper is obtained through library methodology whereby the data is analyzed through descriptive method. The most important result of this study is that events are “narration” and originally a centralized narration within which the core of the structure is love and the overall building blocks of the structure are oriented and impressed by.

Several narrative data from Shia and Sunni sources point to the imprint of Imam Mahdi PBUH and the acceptance of their provisions will have important implications in various fields, especially in the field of theology, including the adherence of a prophet of Olol-azm on the Imam and the mission of the Prophet Muhammad (PBUH) , Imam's priority on the prophet and so on. These verbal consequences are consistent with the principles of Imamate in Shiite religion and conflict with theological principles of the Sunni; therefore, these narratives must be evaluated in a scholarly way from the point of view of the accepted documents in order to find the supreme value of it and its implications. The present article evades from any Religious bias and with all scientific fairness, tries to demonstrate facts by referring to the main sources of narrative and religious guidance of the Sunni denominations. After evaluating the documents and implication of the mentioned narrations, it is concluded that Eghteda is verified in all of the six narratives in Sunni sources in terms of implications, and all have a clear meaning on his intended authority. And in terms of the documents, only two narrations of Sahih Bukhari from Abu Ghuraira and the narrative of Masand Ahmad of Jaber are properly documented. On the other hand, four other narratives are suffering from some problems such as lack of connection and the passivity or weakness of some narrators; however, according to a whole set of evidence, all of them being authentic, it is not unlikely that, given the total amount of Shia and Sunni sources in this regard, the spiritual passage of the above mentioned authority would be proved in Islamic world soon as a consensus.

Having its roots in the Sunni political thoughts derived from Hassan al-Banna, the great founder of al-Ikhwan al-Muslimeen (Muslim Brotherhood), this movement is one of the moderate Salafi groups that holds specific positions and doctrines. Its epistemology, for instance, differs from other movement’s origins, making it different from the Salafi mainstream. As a result, Ikhvani’s activities and approaches has a great influence on the success or failure of the proximate attempts. This paper, employing a descriptive-analytical method of research, aims at introducing the principles of the movement’s epistemology. According to the findings of the paper, for Ikhvanis the medium of knowledge is not confined to Naghl (Narrations) but includes instinct, senses and experience, reason, and vision. They also put a specific value on each of them; for instance, they emphasize on the presence of theoretical justifications, experiential affairs, and authenticity of narration, regarding respectively reason, experience, and Naghl as the media of knowledge.

The notion of reason, its functions and boundaries is one of the significant and influential subjects forming the theories of scholars of religion that is sometimes either exaggerated or undermined. This article surveys different meanings of reason as well as the viewpoints of Ibn Taymyyah, the founder of Salafism, and Sheikh Yusuf Bahrāni, a prominent Shiite scholar, on it, shedding light on their commonalities and differences, despite the fact that both of them belong to Zāhiri School of interpretation. In practice, they both lay little store on reason while admitting its practicability to some extent. Similarly, they both reject the correlation of reason and law, in spite of accepting the theory of rational goodness and badness, and prioritize narration to reason in time of their discord.

Human has contrary bilateral mental sounds, most of human’s faults are results of conflict between these two sounds which have involved him. It has been inferred to for several times in the religious texts such as Quran, Nahjo Al Balgheh …. There have been the various interpretations to made human avoid such damages of devil. The conceptual term “Al Khotvat” and “Satan’s Khotovat” are one of these interpretations.Which have been explained in Quran for several times, for example: “to chase a person”, “to follow a person”, “Evil’s effects and signs”, “progress”, “libido”, “Evil’s temptations”, they are all important to be considered. This study is to examine the vocabulary concept of the word “Al Khotvat” in the light of mystical literature. There are two axes in this study including:1- Preface about conceptual meaning and term of “Al Kohtvat” and general study.2- Analytical study of subject in the light of mystical, mystical literature.

In the last years of his life, Abu Zayd developed a new view concerning revelation and Quran. He no longer viewed Quran as God's speech; he identified it as a fallible speech of the Prophet that counts as an appropriate response to the questions of people then. For Abu Zayd, Quran is a result of the Prophet's dialogue with Arabs, and indeed, a narration which reconstructed and interpreted by the narrator. Quran does not count as a single coherent text; it rather counts as a set of speeches. According to this theory, Quran is a result of the Prophet's dialectical relation with social events and Arab's questions from the Prophet-all this contributing to the process of producing Quran. Since in this speech theory different conditions of expressing things are in view, it should be accepted that the Prophet changed and modified some of his views over time. Quran as a speech counts as a fragmentary text whose differences and contradictions can be justified, since each speech has been made in appropriate circumstances and for a certain audience. On this theory, Quran is never considered as a legislative text that is meant to express a series of eternal judgments. In this paper, I explicate, evaluate and criticize Abu Zayd's view and seek to show the shortcoming of his theory as well as the reasons why such a theory is developed.

The title of the paper deals with a comparative studies of the fictional and non-fictional applications of relations on Maulana's harp player old man with that of tamboura player in Assraroltohid. Comparing the poet's and writer's views is one of the most important branches of analyzing the Persian prose and poetry as well as major discussion in literary criticism. In this paper, the targeted relations are compared in terms of their content and structure. Concerning the structure of the relations, the focus is on the story telling methods of Mohammad ibn Monavvar and Maulana in which it is illustrated that both relations have coherent structure and that to highlight the main theme, adequate number of elements of storytelling are utilized. In terms of the content, it is obvious that the broadness, lightheartedness, and humane emotions and highflying imagination of Maulana have special outstanding in comparison with those of Mohammad ibn Monavvar.