نشریه قلم
پیاپی 15 (بهار و تابستان 1391)

This article offers a diachronic analysis of an extract of Le Misanthrope by Molière, translated; there are more than a century by Mirza Habib Esfahani. Factor such as the horizon of expectation of the time lived the translator and the translator project, are among items to be studied on the basis of theories of translation focused on the problem of diachrony. The report of this translation with the literary tradition of the time will be examined too see if the text fits the literary heritage or whether it away to score a break.

The determiners are analyzed often in the midst of nominal group. They are sometimes believed as “devoid of sense”, nevertheless, these elements have a fundamental role in the interpretation of an utterance. They can combine with each other according to precise possibilities and so on make a real syntactic group. The determinant group can have a complex structure and it must be considered as an independent syntactic unit (syntagm). In this paper we will analyze and compare the structure of determinant group in French and Persian languages.

Thinking of the death occupied, for a long time, the spirit of the human being and it changed constantly the image of his life. The death is registered in the depths of us, as an inseparable certainty of our destiny, however thinking the death is already thinking about life, because it is the perception of the death that forms the way of life. The theme of the death and its connotations impose in a privileged way, in Théophile Gautier's poems, writer and poet French of the 19th century. The reading of these poems with a touch pessimistic revives Omar Khayyam’s quatrains in the minds which are familiar with Persian poetry. This present article tries, by a comparative approach to identify the extent and modality of the presence of this motif in both poets and see how the obsession with death, deep pain of human destiny, the absolute despair of the inexorable passage of time and the unspeakable disgust of the dissolution of things and bodies have disrupted the spirit of both poets. This paper studies the way of escape the constant state of suffering which the system of thought of each imposes him: to live in the moment or get beyond the moment, both of them have only one to conquer time.

Barthélémy d’Herbelot de Molainville (1625-1695) is famous for publishing the Bibliothèque Orientale, an encyclopedic dictionary that was destined for a bright future: this 8 000 entries dictionary includes almost all the contemporary knowledge about the three Muslim empires of the Orient: the Ottoman empire, the Safavid Persia and the Mughal Empire. The picture of Orient presented by d’Herbelot will considerably influence the two following centuries. Although the author’s aim is, as he writes in the preface to his book, to make the truth about Orient known by his public. his immeasurable erudition leads to a quite different result. Throughout the uncountable tales of the dictionary, he provides a vision of a world where wisdom, heroism and splendor are close to tragedy and excess. This world will appear much more realistic to the contemporary public, as it confirms its expectations. In this way, d’Herbelot’s dictionary will nourish the so-called “Oriental” fictional narrative for almost two centuries.

It is henceforth a commonplace; the science-fiction would be a refractory genre by nature against the definitive assimilation to the literary mainstream. We can say that the usual thematic of the genre, to which is added the irresistible propensity to prospect the future in all its forms, immunizes the SF against the “academic confinement” to the benefit of other forms of confinement. Indeed, the SF belongs to the great family of the paraliterature where the more or less listed subgenres are waiting to receive a likely definition. Popular genre which relies on a remarkable poetic, the SF is an open place to the imagination, to the verbal and the figurative creativity. It owns itself its subgenres, among other things, the space opera which was, in a way, the original matrix of the speculative fiction and of its contemporary imitators. The Sternberg’s work did not have a special vocation to feed the already rich world of the science-fiction. It constitutes however a new step liable to bring a touch of self-reflexivity, we will notice that, to the history of this genre.

Patricide as to seize his power and position is a notion that many scholars have focused on, in the different eras of the history of the literature from the beginning up to now. Analysis of this act in the novel La Terre shows that the naturalistic approach and in a greater extent the realism of Zola has caused this action to seem justifiable. However, the natural flow of history and chronology and sequences of events make the father and the son tend to be in a constant struggle of survival. Killing the father, no matter how tragic and painful it is, yet the motive is understandable. But Dowlatabadi takes another way in Kaleidar: hesitancy and uncertainty about the future rural life results in a situation that none of the narrator, characters, and the reader to be able to find an explanation or justification for the patricide. And leaves this question on all minds that if killing the father would not pave the way to take his place; then why to kill him? But it does not mean that children are not living with the phantasm of patricide, and this is how the phantasm in Kaleidar switches to reality in La Terre. This article is an attempt to draw attention to the comparative analysis of these two approaches in order to deal with the differences and similarities of patricide in these two different literary cultures.

In 1865, a few years before retiring from a brilliant career as a literary critique, a publisher, a writer, and a translator, Émile Daurand Forgues brings to the French readers one of his last translations: Nathaniel Hawthorne’s la Maison aux sept pignons. In this article, we will try to establish whether or not this translation is a model of translation. Concretely, this means that our textual analysis (comparison of the target text to the source text) will replace the translation in its historical context and that we will try to see how history is integrated to the translation. This analysis will allow to verify if Hawthorne’s text was translated in its entirety, without omitting or adding anything, and to identify the modifications applied to the original text.

Undoubtedly Ismail Fassih is one of the mostwidely read writers in contemporary literature. However, his name generallyis not considered in the field of the great contemporary fiction writers.His writing style, which is derived from Persian colloquial; and the detective fictionplot, the vivid and fascinating characters of his fictions has lead the literary critics to classify his works in the subgroup of folk literatureor paraliterature. But the new tools in the literary criticism have let us to reveal a so far hidden heritage in one of his most famous novels: Winter 62. The novelsnarrator frequently mentions Waiting for Godot, Samuel Beckett's masterpiece,and makes a subtle but illustrative link between what is read and what is narrated. This article, with rely on the intertextual links between the Winter 62 and the Waiting for Godot, has tried to use a new approach for looking at the Fassih's novel.