نشریه قلم
پیاپی 9 (بهار - تابستان 1388)

The importance of the question of argumentation in narrative texts is greater than the argumentation, which is approached with using the concept of point of view there. We know very well that the point of view often acts in an implicit manner, which is reported with the manner of the text argumentation. So, these two phenomena are closely linked. Contrary to other types of texts (philosophical, moral, etc), the narrative text argues indirectly, because adopting an «attitude of slack phrase» (Weinrich), the appeal in definite and direct rational techniques can shock the reader. So, the narrator tries hard to hide his opinions and his judgments behind the narration, to give the impression, which all the reader reads is objective and neutral. Life: a User's Manual (La Vie mode demploi) give us countless examples of this narratoriale and even attitude sometimes actorielle (relating to the figures). By an example chosen by: “Life: a User's Manual”, we shall see how a figure tries to hide his arguments, by a strategy with numerous facets.

This essay is a study about the general examining of circumstance of poem-formation, which presents a new message. The aim of this poem, which mainly considers the nature, is combining the philosophical idea of this era called ‘new conception of imagination’. This new literary form is considered as selecting a new view of nature by close watching and mixing it with the imagination power. The main questions that come to mind are as follows: what is this poem? Where does it originate? And are there any other reason and theory involved in the creation of this new form of poem.

Based on the instructions of narratology and specifically those of Gérard Genette, explained at length in Figures III, this article will attempt to conduct a study of the presence of the narrator in La Symphonie pastorale and analyses the narrative structures, in which the narrator of this story gets advantage to mark his trail. The narrator homodiégétique also uses different processes to establish a half-direct contact with his/her interlocutor and tries to engage him/her in narrative procedures that lead ultimately to the genesis of this story. In this narrator’s point of view, the second part of this game must not remain inactive, should be engaged in the narrative world. Certainly, reading this book will not launch serious problems for the reader, however the terms of presence of the narrator and the means he uses to create a place for its effective interlocutor might interest readers vigilant and curious.

Gustave Flaubert, for what he represents in the world of literature, remains "a man of history" meaning one, who does not just contented simply having been thrown into the world by the adventure of birth, rises above the "herd", that he may contest the ideas of the "natural" community and break with what is happening around him. But beyond all the Flaubertien works and wide exegesis devoted to them since their publication, the Correspondence of Gustave Flaubert, is a true treasure of observations and comments (often critical) on any subject encourage us to undertake a study on the art of epistolary in his Correspondence. We were surprised to read letters of such incredible sincerity, combined, unlike his novels, with a complete lack of concern for the standards of the literary art. The letters of Flaubert are incredible by their density of idea, beyond the usual frameworks of the daily ratings. It is a dialogue with a wide variety of recipients as in the case of Voltaire, who is the congener spirit of Flaubert a century apart. Flaubert did not want to explain nor demonstrate anything. He has brought neither intelligence nor any solutions and learned posterity to appreciate his abilities.

The affirmation of autonomy of the semantic component of discourse leads us to articulate this component according to three hierarchal semantic levels: figurative, thematic and axiological. The first two levels impose one to another, since the figurative releases from the perception, the thematic is described by its conceptual aspect. As for the axiological level, one can consider that any semantic category might be valorized according to the category euphoria / disphoria. This paper, based on the theory of narrativity of Greimas, analyzes first, the slavery thematic in "Fort comme la mort" of Maupassant and shows how this figurativization of this thematic, presented in the profound level of discourse, is fulfilled in discursive level. Then, this analysis will lead us to show the euphoric axiology of the slavery of novel hero.

In language didactics, the authenticity concept increases with the communication approach. This one insists not only on authentic documents insertion beside teaching documents in language classes, but also on the authentic exploitation of those documents and even on authentic use of the target language. Rich in form and information, the use of the authentic documents, requires a teaching planning and a didactic method according to the concerned public. Exactly from the elementary levels, the teaching tasks conceived to approach these documents, will permit learners to undertake many activities, which will prepare them to face the reality of the language.This achieving within teams, acquires on one hand a sense of security for each team member improving the result, and on the other hand involves interactions in target language. An authentic use of the language, which will replace use of artificial dialogues for an imaginary situation, is a remained audio-visual heritage in our communicative practices.

The novels of Aleahmad are considered as apposite and appropriate sources in restudying and analyzing of collective unconsciousness and social structures’ characteristics. In this regard, his text is a specific example of a literature, which is ready to receive socio-anthropologic analysis. The other’s Child exhibits appositely the inner correspondences and harmonies of themes and textual structures with characteristics, infrastructures and motivations in external side of the society. This correspondence between the text and the social structures is concretized even in level of style and form. Therefore, The other’s Child is at the same time a realistic and personal image of author’s perceptions and an intelligent comment of the background of social stimulators and cultural behaviors.