نشریه نقد زبان و ادبیات خارجی
سال پنجم شماره 10 (بهار و تابستان 1392)

The article presents these trends through examples from French translations into Persian, we propose to study the possibility of applying the theory to the analysis of Persian translations and comment on the potential pitfalls of such an application. The application of this theory to the critical study of French texts translated into Persian shows its universal character.

Ionesco is one of the most important dramatists of the new theatre. His staging of this kind of theatre is perfect. The King Dies is one of the most famous of Ionesco's plays which has been enacted on the stage most often. Unlike his other plays, The King Dies is a classic drama and contains symbolic concepts as well. In that era, the classicism was a way to fight against the popular committed theatre of 1960s. Ionesco who intended to react to committed theatre, shifted to a kind of theatrical style that reflected his inner feelings. Therefore, the King Dies is a turning point in the works of this great writer.

This article is an attempt to analyze the archetype of the clash between father and son in mythology and sample works from English Literature. Basing the argument upon psychoanalysis and mythology, the authors have endeavored to discuss the origin and the socio-political background of the clash between father and son. The works which have been analyzed in this study, include Hesiod's Theogony, Sophocle's Oedipus Rex, James Joyce's The Portrait of the Artist as a Young Man and Chinua Achebe's Things Fall Apart. The analysis shows that a balance between the masculine and the feminine elements in the father and consequently in the value systems of society leads, on the one hand, to the emergence of a logical behavior on the part of the father; which makes for the survival of the son, his normal development and his getting along within the society. On the other hand, emphasizing the elements of paternity and avoiding a normal and balanced behavior leads to a war between the father and the son which results in patricide.

There are still so many figures of British and American literary modernism that remain to be unearthed and studied. Undoubtedly, the twentieth-century poet C. H. Sisson is one of these figures. He is an important voice from the turbulent years of modern poetry. He writes on so many important themes of special relevance in today’s world, one of which is surely money, both as content and as form, that is to say, both as subject and metaphor. According to him, the moral progress and the ultimate spiritual achievement of man is something we should seriously work for. However, this quest is seriously interrupted and disrupted time and time again by money, something which is not external to a person’s life and mind, but something that inheres in the mind and strongly influences his/her worldview. A mind fully occupied by economic concerns has hardly any chance of salvation and is gradually led to the abyss of destruction.

The study of contextual and structural similarities between the literary works of the authors with different cultures and nationalities is a branch of comparative research which always attracts the researchers. Among these, the most prominent have been the studies conducted on the influence of Persian literature on French literature and vice versa. The present article, conducts a research through comparing the works written by Emile Zola and Ebrahim Golestan. Zola in Assommoir tries to recount the laborers’ pains and their miserable life and sorrowful destiny. Golestan in his work entitled “A Man who Fell Down” also narrates the misery of the hardworking people who are entangled in poverty, misery, and physical lust. Considering the similarities in themes and characters between these two works, we will try to analyze their content and structure with a comparative approach.

Qoranic teachings have always been the inspiring source for Persian Muslim scholars, especially poets, and each has benefitted from this endless treasury, depending on their own understanding and the type of literary work. Sa’di from Shiraz is one of the eminent literary figures who has enjoyed the divine concepts and benefitted from these priceless expressions to convey ethical and humanistic values to the readers: “God´s words are the best because He is the best”. That is why Sa’di´s name remain eternal not only in literature but in world literature of as a moralist, and his writings are translated to many languages. In this article, through investigating Qoranic expressions of Golestan in the translations of Fredrich Rosen, Dieter Bellmann, and Rodolf Gelpke, an attempt is made to find out whether trans-lators were aware of the influence of God´s words in Sa’ di´s works and to what extent have transmitted them in their translations.

Given the socioeconomic conditions of the African Americans in the mainstream American culture, the African American authors have almost always had to grapple with the issue of identity and subjectivity. Toni Morrison, as an African American woman novelist, has gone beyond the issue of identity within the paradigm of hegemony and counter-hegemony to throw into relief the multivariate character of identity formation in African American community. In an attempt to investigate the identity formation in Toni Morrison’s Paradise(1997), the present article has selected the analy-tical framework of Ernest Laclau and Chantal Mouffe’s Discourse theory and Hallidayan Systemic Functional Linguistics (SFL). After analyzing the linguistic and discursive practices of the novel through analytical concepts of Laclau and Mouffe, it is concluded that subjectivity in Paradise is a construct contingent on the overdetermination of a myriad of discourses and relations of power which operate within the African American community. Therefore, subjectivity is a political formation.

Gilbert Duran believes that literary works emerged from mythology. Mythology, getting rid of historical time, overcomes death. He shows the fear of time and overcoming that fear through analyzing the literary text based on days and nights imagination regime of Sadako and “the Thousand Paper Cranes" written by Eleanor Coerr which narrates the life of a twelve year old girl that leukemia makes her afraid of death, so she tries to overcome the fear by a mythical belief. This article studies Sadako’s story according to daily imagination regime with positive rating means separator symbols, spectacular and ascent, and finally describes and analyzes nightly imagination regime.The fear of death and anxiety of leukemia caused by bombardment in daily imagination regime panel with negative rating, shows, respectively, darkness, animal and downfall form. While, mythical belief means making thousands of paper cranes which create hope of recovery in Sadako and this reveals three parts of daily imagination poem with positive rating such as spectacular (hopeful) ascent (fly) separator (cut crane from paper) that finally, in nightly imagination regime, a soft and soothing form of death will be accepted.

Sir Thomas More’s Utopia, along with Machiavelli’s The Prince, is a book which is assumed to have heavily and seriously affected the destiny of the imperialist Europe in later centuries. This study is to examine the fact that Utopia, being introduced by many as a dystopia, is also a land which is intrinsically a colonizer and a good model for The Great Britain. By applying the reading method called ‘Contrapuntal’ proposed by Edward Said in his book Culture and Imperialism, it is possible to highlight the features that place this text within the imperialistic and colonialist frame. To do so, the historical position of Renaissance Humanism is studied and then it is clarified that Utopia, as a polemic text is also a narrative which keeps an organic unity with the imperialistic tradition of western novel writing. Hence, the present article will closely examine the dominant discourses within this text including ‘civilizing mission’, self and other, ‘war’, and ‘slavery.

The image of French semiotics has been frozen since1960; for instance a formal discipline of working principle on complete texts, excluded from experiences, that is to say texts taken out of context, subjects separated from their history, and objects emptied of their substance, and the construction of meaning without presence. But, in recent decades we witnessed the transition from classical semiotics based on positivism to the phenomenological origins of semiotics. The main problem of this article is to answer this question: How does Eric Landowski, French sociosémiologue, emphasize the lost -dimensional sense of meaning and highlight concepts such as aesthesia, Presence, adjustment and dynamic interaction of subjects, complete both plans of meaning already present in the classical narrative semiotics, namely, programming and manipulation, and defines systematically four regimes of meaning.

J. M. Coetzee in his Waiting for the Barbarians (1980) pays much attention to the body and its functions in the imperialistic and totalitarian regimes. The conflict between the barbarians as a group of uncivilized people and the central government, which is named the Empire, is the central one in this novel. This research is an attempt to analyze the way that the Empire treats the barbarians as a threat to its totality and order. In addition, this article analyzes the government’s torturing of the barbarians’ bodies in order to break their resistance against the hegemony of the Empire. In Coetzee’s novel, the barbarians are a group of nomads who do not stay in one place; do not build any house; they have no land and migrate to other places in the cold and warm seasons. These characteristics make them either strong or weak against the Empire and their moving bodies in different geographical places are not neglected by the power structures. This research studies the relations between the barbarians’ bodies and the destructing power of the Empire, considering the rhizome analysis of Gilles Deleuze and Felix Guattary in A Thousand Plateaus: Capitalism and Schizophrenia (1980).

Literary scholars of Persian literature regard “radif” as a property of Persian poetry; a property which has a clear manifestation in different types of poetry, especially the Persian Qazal, and acts as an internal rhyme for the poem. Among the great literary figures of Persian literature, Hafiz is one of those who have made an extensive use of radif in his Qazals, with a diverse linguistic structure. In this article, a translation of the Divan of Hafiz has been chosen, in which the translator (Henry W. Clarke) has committed himself in translating most of the Radifs, on one hand, and place them at the end of each line, on the other, as it is in classical Persian poetry. Considering the differences between the grammatical structures of the two languages, it seems clear that a great deal of creativity is needed, and of course the translator will face many challenges. The question of this article is what these challenges are, and how the translator has dealt with them. After reviewing the translations of Radif in this work, the challenges have been classified in 13 items, as follows: ditransitive verbs in Persian, nominalized verbs, Persian auxiliary verbs which contain their own meaning too, impersonal constructions in Persian which look like the past tense verbs, Periphrastic structures and compound verbs with the common base verbs, personal endings of Persian which do not have equivalences in English, “Common” pronouns such as xod and xiš which do not English equivalents, different word orders of the two languages, specific Persian enclitics, and the conversions of different parts of speech in Persian, which does not necessarily take place in English.