فصلنامه عصر آدینه
پیاپی 24 (زمستان 1396)

Mahdavi centers bear the heavy responsibility for promotion of Mahdavi teachings globally. A fundamental challenge, however, is that the position of Mahdavi teachings and operational planning for its promotion at the international level has not been proportional to the capability of these institutions. The basic question concerns the strategic imperatives on the way toward realization of the prospect and mission of Mahdavi centers in regard to global promotion of Mahdavi teachings. By investigating the narrative and rational foundations, this paper addressed the Principle of Da’wah (‘invitation’) as an influential Islamic principle concerned with International promotion and factors effective on the transformation of the role of Mahdavi centers in the issue of global promotion. It was a qualitative case study with an inductive framework using process tracing regarding the global promotion of Mahdavi teachings in expert institutions relevant to Mahdaviat. In this documentary research in terms of data collection, the Grounded Theory was used for data analysis and presentation of strategic imperatives. By investigating the background conditions in the global promotion of Mahdavi teachings, the research addressed the causal and transforming conditions at Mahdavi centers and extraction of the strategic imperatives to resolve the challenges using the narrative and rational foundations. On that basis, Mahdavi centers should consider the constraints and possibilities resulting from the availability of a global competition in the area of promotion, the notion of power of discourse and administration for realization of the global discourse of Mahdaviat, the ever-increasing role of individuals and non-state institutions in the international scope, and the formation of a network community revolving around the Promised Savior according to the Principle of Da’wah to play an effective role in management of the challenge of weak global Mahdavi discourse.

The study of Orientalists’ thoughts on the issue of Mahdism studies is of particular importance with regard to its reflections among the Westerners. Dwight M. Donaldson is an orientalist of the contemporary era who became famous for writing and publishing the book of “Shiite Religion”. In the Mahdism part of his book, he made some false judgments. The doubt in the origin of the issue of Mahdism and the appearance of the Imam of the Time is one of these misjudgments.
The present research has defended the Mahdism thought with a descriptive-analytic method while it explains Donaldson’s thought on Mahdism. Among the weaknesses of his research method is the selection of method of historic perspective and the relatively non-valid sources.
Among the criticisms relevant to the content of Donaldson’s words are the study of status of the Qur’an and Hadith in the Mahdism discussions and the validity granted to these two important sources in the explanation of the issue of Mahdism and validity of Ibn Khaldun’s words in the Sunni intellectual system. Moreover, the final section of the current paper points to the review of the issue of Mahdism in Kaysanites and proves that the emergence of Mahdism thought is not influenced by the Kaysanites sect and the injustice of Umayyad era.

The global economy's owners are mostly Jewish financiers who have authority over many communication fields, including Hollywood cinema. They use communication mechanisms and graceful elements of the film to expand their follow-up. A large part of Hollywood's current productions in the apocalypse and end of the world is focused on the ultimate thinking of Kabbalah and the Zionist system. What is emphasized in this study is what elements of Jewish thought and mysticism (kabbalism) with the apocalypse  format is presented to the audience through the use of the attraction of the films production, and how the direct and indirect messages of hidden and non-explicit elements are put into the audience's thinking.
The present research is an exploratory research that explores the challenges of Hollywood movie production in the apocalypse . The method used is Narrative Analysis with Convergent Technique. The population  is apocalypse films produced in the last decade.
The results showed that the narration of the apocalypse in the Hollywood cinema is a narrative based on Jewish mysticism and the savior in decline, and also a destructor and a narrative with signs of Kabbalah.

The article intends to explain the status of the representation of Mahdaviat as one of the most important part of religious faith of Iranians with a maximum Shia population in the official education textbooks across the country. By using the method of thematic analysis, firstly, we reached the indicators of ‘awaiting society’ and thought of Mahdaviat from the perspectives of the Imams of the Islamic Revolution, Imam Khomeini (as) and the current Supreme Leader of Iran, Ayatollah Ali Khamenei, as two official benchmark approaches on the case. Then, we used the content analysis method to evaluate the textbooks’ contents based on the indicators afforded from the statements and thoughts of these two Imams. The basic question of the research: Is the representation of Mahdaviat in the formal education contents of the Islamic Republic of Iran, in accordance with the viewpoints of the Imams of the Islamic Revolution and thereupon of the official outlook of the Islamic Republic of Iran? The results show that there are some basic drawbacks during the content of these official education contents, both in terms of quantity (given the importance and necessity of the matter) and the approach (due to the benchmark and alignments).

In order to determine the framework and features of art in the level of new Islamic civilization, it is necessary to have criteria for assessing the extent to which artworks are consistent with Islamic thought and approaches. For this purpose, Imam Ali's (as) text and speech was analyzed in Nahj al-Balaghah so that his view - which is in fact the same Islamic view of the subject - was extracted in the field of art. Given the fact that art and artwork had a limited function in its modern sense at the begining of Islam, eight narratives, which have clearly looked at the domains of inappropriate art, were counted. Four groups were categorized to serve as an indicator for defining the framework of art in new Islamic civilization. The four groups are: art as a means of arrogance, deceitful and misleading art, art based on worldliness, and ultimately the art of sin. If we look at the works that are nowadays presented as Islamic art, perhaps some of them are inappropriate art works. In this way, a new way of promoting the content of Islamic art and revealing the norms of art in new Islamic civilization can be discovered.

The doctrine of Mahdaviiat in recent years has become so common in various levels and layers of society that almost in the poetry collection of all the commited poets you can find the theme of the Mowood subject. The dominant thinking on these poems has a meaningful knitting with the style of the Entezar poem. The purpose of this paper is to look at this relationship by looking at the literary style features of the Entezar. In this regard, the main issue of the paper is that, in Entezar poetry, due to its ideal nature, words with ideological load are included, which, because of their high frequency, abecome the features of the style of this type of poem. The research method is librarian based on the layer stylistics approach. The main body of the paper consists of the study of a number of Entezar poems of contemporary poets from the view point of the relationship between the subjective ideology of the author and the layers of the style of his poetry. In conclusion, the result is that in contemporary Entezar poetry, there is a meaningful relationship between the ideological layer of Mahdavi poetry style and the various layers of phonetic, lexical, syntactic and rhetorical, as there are for other linguistic forms of literary work.