|
|
|
 |
Search published articles |
 |
|
Showing 6 results for Rezaei
Seyyed Ali-Asqar Mirbagherifard, Hossein Aghahoseini, Mahdi Rezaei,
Volume 17, Issue 64 (5-2009)
Abstract
About the beginning of the second century and after the installation of Baqdad, Baqdad mystical school was established by some of Sophies such as Maruf karkhi. This school was continued by Sari Saqati and finally was completed by Jonayd Baqdadi .The climax of this school was in the fourth century thanks to Jonayd's learnings and those of his students such as Shebli, Vaseti and Joreyri…
The most distinguishing characteristic of the disciples of this school was their absolute adherence to the appearance of the religion which was mainly caused by their reaction to unawareness school. They explained this school by discussing the alertness (consciousness) and unawareness. Jonayd himself was always on alert and was never unaware. Possessing this characteristic, he was always ready for obeying the religion's orders. There are other factors in addition to the above-mentioned causes for obeying the religion's orders.
In this article, first, we examine the domains in which Jonayd school caught on in the third, fourth and fifth centuries and then some disciples of this school will be briefly introduced. Then we will discuss why the founders of this school were committed to following the face rules of this school.
Ali. A. Mirbaghrifard, Mehdi Rezaei,
Volume 18, Issue 69 (12-2010)
Abstract
Islamic mysticism and Sufism are among important mental and cultural issues which have influenced Islamic – Iranian culture and Persian language and literature profusely. So the various dimensions of this mental and practical school must be revisited. One way to approach the subject and the end of this school as well as the history and content and changes is to examine the definitions which the pioneers and leading Sufis have provided. In this article, we have a critical look at these definitions in order to know this mental- practical school better and to clarify its hidden dimensions of that. To this end, in addition to referring to the leaders and followers of Sufism, their mental and practical framework will be illustrated.
Mohammad Gholamrezaei, Seyedeh Narjes Momeni,
Volume 20, Issue 72 (5-2012)
Abstract
The ancient translations and interpretations of the Holy Qur'an are among the less recognized capitals of the great treasures of the Persian language, consisting of the various words of the different domains and periods of this language and can be a rich treasure house in order to develop the Persian language. Terjemah Tafsir Tabari is one of the oldest and richest translations and interpretations which has been provided on the basis of the book of Tafsir Tabari and is of particular importance both from the point of view of the Persian language history and in terms of the history of religious texts. However, the edition which is available has some problems considering the regulations of the correction technique and conditions of the Persian language dialectology. In this article, attempts are made to refer to some typical cases and the necessity for re-correction of this valuable book based on another copy is highlighted.
Mostafa Mirdar Rezaei, Farzad Balou,
Volume 30, Issue 93 (1-2023)
Abstract
Most of the research conducted on the subject of “language” and its role in the field of mystical texts, has focused on the objective reflection of language (the investigation of language in speech and writing), an area that is actually regarded as second-order knowledge. It is very important to pay attention to the first-order knowledge, which is defined as knowing the nature of the language itself and every individual (mystic’s) interpretation of what it is – which is mostly neglected. That is why before the stage of proof and realization of language; the position of proof and interpretation of the language is a principle, and before the language reaches the level of realization and emergence, the manner of its interpretation and determination is formed. One of the thoughtful mystics who contemplated about the nature of language and wrote about it in his works is Imam Mohammad Ghazali. This study, based on a descriptive-analytical method, tries to investigate Imam Muhammad Ghazali’s thoughts on the field of language and its nature (first-order knowledge) in the light of some of Saussure’s linguistic ideas. The emergence and realization of language in the form of terminology and universals (second-order knowledge) is another aim of this research. The results indicated that, in explaining the subject of language, as a philosopher, Ghazali discussed the makeup and nature of language and from the point of view of a linguist, he looked into the process of language development in spoken and written forms.
Dr Mustafa Mirdar Rezaei, Dr Farzad Baloo,
Volume 31, Issue 95 (11-2023)
Abstract
Mirza Mohammad Ali Isfahani, mostly known as "Sorush" and "Shams-al-Shoara" was one of the greatest poets of the literary return movement and the Naseri era. One of the factors of the fame and excellence of this poet's position among the literati was his ability to skillfully imitate former poets. Previous research indicates that Sorush was most inclined towards the poetry of Farrokhi Sistani. Based on a quantitative-statistical method and a stylistic approach, the current study tries to present reliable statistics on the amount of the poet's use of art and rhetorical techniques by examining the structure of the poetic images of the Divan of Sorush Isfahani. In addition to determining the level and quality of the structure of Sorush's images in terms of their simplicity or complexity, an attempt was made to compare the structure of his poetic images with that of the images of poets of preceding styles, especially by investigating the claim of the similarity of his poetry to that of Farrokhi. Based on our data, the images of Sorush's ghazals have the most complex structure, and the images of his masnavis have the simplest structure. The structure of images in Sorush's odes is surprisingly similar to the image structure of Farrokhi's, as if despite the historical distance, both structures belonged to the same poet, and this means an exact repetition of a historical experience in the creation of poetic images. The same thing happened in another aspect: The structure of images in Sorush's ghazals is exactly on a par with the structure of images in Saadi's ghazals.
Dr Mostafa Mirdar Rezaei,
Volume 32, Issue 97 (1-2025)
Abstract
Nasser Khosrow's poetry is full of intellectual arguments, religious topics, sermons and judgments, etc., which has given his words a philosophical and somewhat complicated flavor. On the other hand, in his works, Attar has tried to present the heritage of Sufism of Khorasan and the heritage of poetry before him in a different way, with a simple language and free of glamor and impressive embellishments. The question of this research is whether the simplicity or complexity of language plays a role in the simplicity or complexity of the structure of poetic images. The present research, which is written in a quantitative and statistical method, deals with the statistical and comparative analysis of the structure of the poetic images of Nasser Khosro and Attar. The results of this research show that the simplicity or complexity of a poet's language has little to do with the structure of his images; In other words, the simplicity or difficulty of a poet's words cannot be considered simple or complex in the geometry of his images. The language of Nasser Khosrow's poetry is difficult and complex, but this feature has not had a significant effect on the geometry of his poem's images, and most of his poetry's images are simple and far from complex. On the other hand, the structure of Attar's poetic images, despite the simplicity of the language and appearance, has a subtle and narrow complexity that cannot be integrated into a network except by analyzing the rhetorical materials used in the construction of the images. understand the relationship of those tools with each other; In other words, Attar's language is simple and his images are complex.
|
|
