نشریه قلم
پیاپی 17 (بهار و تابستان 1392)

In his A Lover's Discourse fragments, Roland Barthes finds that love breaks the prior consistency of discourse and thought. However, the break can be followed by a new reconstruction of a post coherency, but can also lead to inconsistency, to irrelevance and absurdity. Seeing that a large part of Proust`s novel is dedicated to the analyze the complex rules of love in their psychological and social dimension, we will ask the nature of the discourse of love, it`s eventual consistency or absurdity in it`s lover`s character. The language used by the Proustian lovers -in their attempts to establish the communication with loved ones or with other characters of the novel- are integral parts of these rules of love. We want to know if in discursive analysis measures, we should conclude that in Proust`s work, love is bright and smart enough to do the movements and activities at the level of thought and speech, or we should rather say that it is a source of fundamental language rigidity or irremediable dislocation of speech.

This paper examines the image of God in the works of Saint-Exupery, one of the authors of the twentieth century.Saint-Exupery is a French novelist, who has certain philosophical ideas and tries to reflect the picture of God in this novel and his biographical novels. His main goal is to win over nihilism through presenting a new image of God. His images represent diversification of God in Castle and Cahiers, a different picture of what it gives the official religion of God

Foreign language learner at all levels seeks to develop his competence in general, and his lexical competence before all other competencies. The language teacher also, often seeks to ensure a better teaching. In order to, language teacher has a strong interest to slove the difficulties of his/ her learners in order to correct the lack presented by the main support she/ he uses. Thus, this finding has been the current starting point of this research. In this context, the aim of this paper is to identify frequent and functional vocabularies in the Alter Ego. This may lead to locate the difficulty of using these vocabularies among Iranian learners. The result will so help the Iranian learners develop their lexical competence if it is embodied in the process of vocabulary teaching. In this article, a quantitative analysis of the frequent and functional vocabulary of Alter Ego level A1 was performed. The degree of vocabularies assimilation of 40 Iranian adult learners level A1, presented in this method was then measured by closed, half-open and open tests. According to the results, we realized that Iranian learners assimilate and use functional vocabularies on the scale of "good". The observed results show that the problem is always at the most frequent grammatical words.

In order to appreciate the secrets of Anatole France's literary creativity in his stories, we must first attempt to acknowledge this great author himself. Some of his literary works, which deserve rereading, have fallen out of favor due to the predispositions of many other authors; however, re-publication of his works altogether in a collection called Pléiade and the adaptation of some of his works for films brought his works once again to the center of our attention. To avoid verbosity, we have limited our study on his stories to the first section of one of his works called Le livre de mon ami which entails six stories. All these stories depict the author's childhood memories which cannot be constrained to a specific time period. Each story is a discontinuous account, i.e. it is by no means related to its preceding and following accounts, and has concentrated only on one adventure and one event. Perhaps this discontinuity has resulted from oblivion. In his stories we are not encountered with fictitious events, rather we are faced with some authentic events and humorous tinctures which are described and interpreted by the author after the passage of a lengthy period of time. The stories of Anatole France recount events and then analyze their details along a short but precise route. Though strange to the readers, these events have not resulted from the author's imagination, rather they are events which vividly represent themselves to us as realities. This miscellany of stories takes us step by step on a trip whose recounting is so much distant from its actual occurrence both in terms of time and place. This time and place are then reconstructed according to the author's memories which are emblazoned with pleasant somberness.

The importance of rhythm in the latest texts of Antonin Artaud written in an invented and incantatory language invites us to extend the scope of our understanding of this phenomenon. And it is particularly surprising that contrary to what one might imagine, the simple word of rhythm is far from representing a universal definition easy to access. This has led many authors to give the name a more accurate and satisfactory definition, but it is only by following the path that Artaud spawn had influenced in our mind that we could reach a magical definition of this term. It is for sure that the magic of rhythm connects the beliefs of a primitive culture to the most recent contributions of the humanities in this research.

The novel today has become a very calculated genre. Nothing is left to chance in the fictional world of today and we are very far from the novels where the description of the space was a simple ornamental detail to set the story somewhere in a given space. The description in the contemporary novel is an important element of the romantic variety and it seems to be not only very subservient to its former rival, the narration, but we could also say that the distinction between description and narration tends to a kind of active cooperation.It is in such collaboration with the narrative that the description of the city of Paris starts in Ismael Fassih's Soraya in coma. The novel depicts an active description that represents the city of Paris in its objective side while revealing the inner feelings of the descriptor with his subjective inclinations. In addition, this narrative description supports the body of the novel by constantly recalling the narrative in an indirect way.

What do we translate when we translate? This question may seem obvious, or meaningless, but nevertheless.Translating a Text, all of a Text, and in a way only the Text, but within its World, a World-Text. Which means its Orality, as defined by Henri Meschonnic, in order to over some inherited artificial oppositions, and also its Sociality: the Text (structurally coherent) is considered in all of its social aspects. Hence the Concept of Sociotext. Our aim is to start from the Text, to stay "inside" the Text, but in all of its aspects, which are all to be translated with the Text.