خلاصه ماشینی:
Sayyid Qutb on the Qur’an’s Artistic and Activist Dimensions Sayyid Qutb’s reputation as one of the finest Muslim writers of all time is based on the quality of his writings in terms of their eloquence and ideas.
In an obsessive way, Qutb considers this “artistic representation” to be the “preferred tool (adŒt) in Qur’anic style of presentation (u§l´b).
”9 To him, it is when the Qur’an uses a perceptible (muúissah), dramatic and imaginary (mutakhayyilah) image to convey a mental meaning (dhihn¥), psychological state (úŒlah nafs¥yah), perceptible event, visible scene, human model (nam´dhaj insŒn¥) or human nature.
1. When the Qur’an intends to stress that unbelievers will never ever attain God’s pleasure nor enter paradise (a simple mental meaning), it presented that with a perceptible, tangible image by stating: The gates of heaven will not be open to those who rejected Our revelations and arrogantly spurned them; and they will not enter the garden (paradise) until a camel passes through the eye of a needle; and this is how We punish the guilty.
In ~ilŒl, Qutb once again draws attention to his main focus by insist- ing that in the “Qur’an’s usual style” (‹ar¥qat al-Qur’Œn), one’s imagination is directed toward God’s concrete and dramatic motion of “turning to” the deeds via having the wind blow them away, scattering them in all directions.
15 According to Qutb, the Qur’an frequently employs such mental meanings in perceptible images.
4. Sayyid Qutb, Al-Ta§w¥r al-Fann¥ f¥ al-Qur’Œn (Cairo: Dar al-Shuruq, 2004), 9.