نشریه پژوهش های ادب و زبان فرانسه
سال یکم شماره 2 (پاییز و زمستان 1391)

In the framework of contrastive linguistics and with introducing cognitive and linguistic approaches, this research tries to focus on the cases of similarities and differences in the numerical system of Persian and French languages that in its turns concerns morphological and phonological system of these languages. The findings of this study have several dimensions. We have shown that both languages use two principal operations in mathematics such as multiplication, summation or the composition of both of them in order to express the numbers in the decimal, the hundreds and the thousandth systems. However both languages use simple numerals for expressing “one to ten “ .In both languages the arrangement of smaller number in complex numerals is the same in the operation of multiplication and in the summation operation the bigger number is anterior to smaller one. It is also necessary to note that in Persian language historically, we have some phonetic and phonological changes in the numeral system of this language. There are also the cases of divergences in expressing numerals in Persian and French, because the former lacks the grammatical category of gender and the latter apply this property to a vast majority of grammatical relationships in the language. In Persian numerated words have no plural form; on the contrary in French these words have the plural one with regard to their correspondent numerals. These cases of divergences are the matter of importance in which the teachers must pay such a special attention to this point, because the Iranian students have lots of problems in confronting numerical system in French.

The look, feel, vision, interpretation, all these factors are combined in a common area: The point of view. It looks like a great camera and guide us to enter into the most hidden aspects of previous worlds or characters, sometimes it keeps us away from all this happening, like spectators in a stadium. Can we reach a common definition? Like all definitions related literature or discourse, the notion of perspective has a definition uncertain.
Each story is told in a way that could be presented under different points of view. This shows how the author presents his story, his history to the reader. In fact, the point of view itself is the story with which we present and tells the subject of the fiction. Types of point of view will be varied according to the type of narrative. It should be added that the point of view that the author chose will have a remarkable influence on the personification, the genesis and development of the plot, style and staging.
In this article, we will introduce some concepts and theories of some theorists, semioticians and French contemporary critics and, perhaps most important, the notion of point of view, its margins, its role in the story or in general in all contexts, whether literary or political, social or communicative.
The purpose of this article is to study the role of point of view in the narrative configuration and acquisition strategy from which we can analyze the speech in the deepest layers.

Art can be a reflection of historical or social events in a given time. In all the arts, this reflection is essential, among others, the literature can be seen as the mirror of history. Montesquieu, writer and philosopher of the eighteenth century, in his book The Persian Letters, is interested in the image of Eastern cultures, and more specifically, that of Iran, to transmit his critical remarks about his own company. Two Iranian travelers for the first time in France and visit Paris and find different aspects of this society. They will communicate with their families and friends about their ideas. In this article, we intend to make a sociological study, from the view of Marc Angenot, Canadian critic. This approach may reveal the image of France in the eighteenth century.

Riffaterre considers two different readings of poetry as possible; heuristic reading and retroactive reading. In heuristic reading, the primary meaning of the text is reveled trough the common significant implications of language. Retroactive reading, will allow the reader to organize the mental associations that engage a deeper sense. In fact, the heuristic reading leads to an initial meaning and the retroactive reading brings the discovery of latent implications of textual infrastructures.
For the case study, this paper has selected one of the world's most famous poems "Freedom" written by French twentieth century poet Paul Éluard. Firstly, we aim to present a detailed explanation of what is called "retroactive reading" and secondly, we try to apply this special reading to the poem "Freedom" and according to the analytic conceptions like concentrated semiotic system, we will study the interpretative possibilities of this poem.
In retroactive reading which is done by verifying of semantic accumulation and descriptive systems, the various symbolic and iconic aspects of the signs in the poem "Freedom" are feasible. The retroactive reading of "freedom" refers to the fact that the thematic of this poem like "common past", "common history" and "the familiar nature", like many other signs of this poetry, gradually they abandon their normal significations and become the vast and strange symbols.
It can be said that Paul Éluard has intelligently employed an organized systems of signs for constructing and transmitting of the presupposed meaning. So the reader, who wants to gain a deeper understanding of this poem, has no other way but a process of decoding on accumulations and descriptive systems.

Sartre raconte la vie de Genet depuis lassistance publique jusqu'à la scène du théâtre français.

L’objet de cette étude porte sur les visages du temps dans l’imaginaire de Proust, afin de mieux connaître cet écrivain. En repérant les images littéraires dans Combray, nous essaierons d’analyser l’importance du temps dans la création des images historiques. En comparant l’influence de l’histoire ancienne et de l’histoire contemporaine sur l’imaginaire de Proust, nous allons en particulier nous pencher sur le rôle du temps dans sa création romanesque. Derrière les formes structurées de l’imaginaire proustien, nous tentions de mettre en évidence l’importance du temps. D’après Gilbert Durant le temps joue un rôle crucial dans la transmission des images. Chez lui, l’imagination est une réaction contre la peur de l’écrivain devant la mort et la fuite du temps. Face aux visages menaçants du temps, parfois l’écrivain se dessine une autre attitude imaginative, il essaie de calmer le monde autour de lui par l’euphémisme. Ainsi son héros arrive à vaincre sa peur, et on voit même les signes de maturité chez lui. Dans cet article nous cherchons à analyser les structures de l’imaginaire de Proust dans la création des images historiques à Combray par rapport à Paris.