Noor Mohammad khodayari; Hasan Abdollahi; Ali Norouzi
Abstract
Semantic contrast is one of artistic and aesthetic tools used for creating the highest beauty in the structure and content. Studying the aesthetics of contrast and contrastive structures in the Quran verses can help to clear the semantic ambiguities and problems and to meet the needs and questions of ...
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Semantic contrast is one of artistic and aesthetic tools used for creating the highest beauty in the structure and content. Studying the aesthetics of contrast and contrastive structures in the Quran verses can help to clear the semantic ambiguities and problems and to meet the needs and questions of human's spirit and intellect by suggesting valuable concepts and emotional artistic information. By identifying the aesthetic techniques in Surah Ali Imran, the present research aimed to examine its impact on creating phonetic balance, structural and content beauty, and semantic connections. In this regard, at first place the literal and technical meaning of the word "contrast" and its importance and status in creating the beauty of speech were studied and then by analyzing some examples of semantic contrast in Surah Al-Imran it shed light on how the rhetorical tool could create phonetic integrity, and unity of structure and cohesion, coherence of verses, and presenting sublime concepts. By contrasting the attributes of God, the surah provides a comprehensive definition of Allah, shows his omnipotence and supremacy over the affairs of the universe from the beginning to the end, and denies all the alleged gods of the disbelievers.
hamed naghshbandi; Seyed Mohammad Bagher Hosseini; Ali Norouzi; Hossein Nazeri
Abstract
Adages and aphorism, notwithstanding their differences, are considered to be the most veridical of literary tools, revealing nations’ internal and external mentalities. As the garnish of words along with a means of bolstering the power of argument, they have been prevalent in all literary eras and ...
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Adages and aphorism, notwithstanding their differences, are considered to be the most veridical of literary tools, revealing nations’ internal and external mentalities. As the garnish of words along with a means of bolstering the power of argument, they have been prevalent in all literary eras and constitute one of the major, precious branches of literate and are credible documents of bygone customs, culture, and traditions, through which forebears’ thoughts and opinions together with their ways of reflection and mentalities can be laid bare. Undoubtedly, among the symbols of every country’s culture, civilization and literature are its adages and aphorism or apothegms and sage sayings, exuding from the mind and thoughts of elites of science and literature or the common people of a land, spreading mouth to mouth, from one generation to the next. All the living languages of the world, specifically Persian, are replete with adages and aphorisms, each with its own specific sweetness and beauty, in its place, denoting opulent tastes, thoughts, and euphemism in rendering meaning, so much so that multifarious opuses based on nations’ and people’s culture have been penned. Adages and aphorism are, in fact, the very popular customs, traditions, and renditions, endued with anecdotes, religious teachings, hints, preaching, and advices, forming the basic structure of social, political, religious, and cultural life in human societies in the light of which, people and generations find their identity. Iran, with an ancient, historical background, is the land of adages and aphorisms and a
Ali Nowroozi
Abstract
Finger reckoning is one of the five types of signification(dalala),which al – Jahiz mentioned in his book, al–Bayan wa al–Tabyin . By this he meant a particular representing numbers by means of the outstretched or bent fingers and their various positions .Finger reckoning can be traced in some ...
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Finger reckoning is one of the five types of signification(dalala),which al – Jahiz mentioned in his book, al–Bayan wa al–Tabyin . By this he meant a particular representing numbers by means of the outstretched or bent fingers and their various positions .Finger reckoning can be traced in some prose and verse writings and Traditional(Hadith) sources; for example, in a recorded speech through which Abu-Talib expressed his faith in Islam. This is by far the best evidence for the prevalence of finger reckoning among the Arab in ancient periods. It is impossible to understand such literary texts without being familiar with this method of counting.
The present article aims at investigating finger reckoning according to Arabic manuscripts and comparing its symbols with those found in Pacioli’s book , Suma. Then it tries to explain some texts which could not be understood unless through the familiarity with finger symbols.
